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+[{"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: George Frideric Handel was born on 23 February 1685 in the German city of Halle. It is unclear what initial musical education he received; his father, Georg H\u00e4ndel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at Weissenfels, where his half-brother Karl was in the service of the Duke of Saxe-Weissenfels, impressed the duke, who persuaded H\u00e4ndel senior that the boy should have a proper musical education. As a result, Handel began formal study under Friedrich Zachow, the organist of the Lutheran church at Halle.Handel's biographer Jonathan Keates writes that: \"From [Zachow] Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style\". Handel's musical development also benefited from an early and lasting friendship with Georg Philipp Telemann, whom he met in 1700. In February 1702 Handel enrolled at the University of Halle, perhaps intending to study law. In March he took up the post of organist at Halle's Calvinist cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the elector who, in 1701, had become the Prussian king Frederick I. In Berlin Handel first experienced Italian opera, and may have met the Italian composers Giovanni Bononcini and Attilio Ariosti, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil his year's contract at the Domkirche. With few career prospects available in his home city, Handel would have liked to go to Italy, but this, he realised, was not yet practicable, since he lacked both cash and contacts. Instead in mid-1703 he left Halle for Hamburg, a thriving free city which housed the leading opera house in northern Germany.\n", "labels": "What is the last name of the person whose father had held an honorary post as physician to the elector?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-68779db5b73940aca236a3391009c7e3"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: George Frideric Handel was born on 23 February 1685 in the German city of Halle. It is unclear what initial musical education he received; his father, Georg H\u00e4ndel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at Weissenfels, where his half-brother Karl was in the service of the Duke of Saxe-Weissenfels, impressed the duke, who persuaded H\u00e4ndel senior that the boy should have a proper musical education. As a result, Handel began formal study under Friedrich Zachow, the organist of the Lutheran church at Halle.Handel's biographer Jonathan Keates writes that: \"From [Zachow] Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style\". Handel's musical development also benefited from an early and lasting friendship with Georg Philipp Telemann, whom he met in 1700. In February 1702 Handel enrolled at the University of Halle, perhaps intending to study law. In March he took up the post of organist at Halle's Calvinist cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the elector who, in 1701, had become the Prussian king Frederick I. In Berlin Handel first experienced Italian opera, and may have met the Italian composers Giovanni Bononcini and Attilio Ariosti, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil his year's contract at the Domkirche. With few career prospects available in his home city, Handel would have liked to go to Italy, but this, he realised, was not yet practicable, since he lacked both cash and contacts. Instead in mid-1703 he left Halle for Hamburg, a thriving free city which housed the leading opera house in northern Germany.\n", "labels": "What is the last name of the person who returned to Halle to fulfill his year's contract at the Domkirche?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-68779db5b73940aca236a3391009c7e3"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Kate is traveling around Ireland in an R.V. with her ex-boyfriend Ryan, brother Joel and friends Hailey, Chuck, Tommy and Anita. After driving into the countryside, the group stop off at a small shop, where they encounter Luca who attempts to scam them from buying a medallion, and warns them it is dangerous before Chuck steals the medallion and the group attempt to make a quick get-away. However, as they drive away in their R.V. they hit an old woman, who puts a curse on the group, telling them the mythical bird the roc will take vengeance on them, before dying. The group quickly drive away in their R.V. but hit a patch of thick fog and become lost, as fears of the curse heighten. Stopping the R.V. they encounter a young boy in the road. Anita leaves the R.V. to talk to the boy, but he runs away before the roc grabs Anita and drags her into the air. Her body is dropped in front of the R.V., with half of her face mauled off before the roc returns and flies away with her.\n", "labels": "Who has a curse put on them?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fa1b878d2d944171a8607b8389f652db"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Kate is traveling around Ireland in an R.V. with her ex-boyfriend Ryan, brother Joel and friends Hailey, Chuck, Tommy and Anita. After driving into the countryside, the group stop off at a small shop, where they encounter Luca who attempts to scam them from buying a medallion, and warns them it is dangerous before Chuck steals the medallion and the group attempt to make a quick get-away. However, as they drive away in their R.V. they hit an old woman, who puts a curse on the group, telling them the mythical bird the roc will take vengeance on them, before dying. The group quickly drive away in their R.V. but hit a patch of thick fog and become lost, as fears of the curse heighten. Stopping the R.V. they encounter a young boy in the road. Anita leaves the R.V. to talk to the boy, but he runs away before the roc grabs Anita and drags her into the air. Her body is dropped in front of the R.V., with half of her face mauled off before the roc returns and flies away with her.\n", "labels": "Which person runs away from Anita?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fa1b878d2d944171a8607b8389f652db"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Ruisdael's work from c. 1646 to the early 1650s, when he was living in Haarlem, is characterised by simple motifs and careful and laborious study of nature: dunes, woods, and atmospheric effects. By applying heavier paint than his predecessors, Ruisdael gave his foliage a rich quality, conveying a sense of sap flowing through branches and leaves. His accurate rendering of trees was unprecedented at the time: the genera of his trees are the first to be unequivocally recognisable by modern-day botanists. His early sketches introduce motifs that would return in all his work: a sense of spaciousness and luminosity, and an airy atmosphere achieved through pointillist-like touches of chalk. Most of his thirty black chalk sketches that survive date from this period.An exemplar of Ruisdael's early style is Dune Landscape, one of the earliest works, dated 1646. It breaks with the classic Dutch tradition of depicting broad views of dunes that include houses and trees flanked by distant vistas. Instead, Ruisdael places tree-covered dunes prominently at centre stage, with a cloudscape concentrating strong light on a sandy path. The resulting heroic effect is enhanced by the large size of the canvas, \"so unexpected in the work of an inexperienced painter\" according to Irina Sokolova, curator at the Hermitage Museum. The art historian Hofstede de Groot said of Dune Landscape: \"It is hardly credible that it should be the work of a boy of seventeen\".\nRuisdael's first panoramic landscape, View of Naarden with the Church at Muiderberg in the Distance, dates from 1647. The theme of an overwhelming sky and a distant town, in this case the birthplace of his father, is one he returned to in his later years.For unknown reasons, Ruisdael almost entirely stopped dating his work from 1653. Only five works from the 1660s have a, partially obscured, year next to his signature; none from the 1670s and 1680s have a date. Dating subsequent work has therefore been largely based on detective work and speculation.All thirteen known Ruisdael etchings come from his early period, with the first one dated 1646. It is unknown who taught him the art of etching. No etchings exist signed by his father, his uncle, or his fellow Haarlem landscapist Cornelis Vroom, who influenced his other work. His etchings show little influence from Rembrandt, either in style or technique. Few original impressions exist; five etchings survive in only a single impression. The rarity of prints suggests that Ruisdael considered them trial essays, which did not warrant large editions. The etching expert Georges Duplessis singled out Grainfield at the Edge of a Wood and The Travellers as unrivalled illustrations of Ruisdael's genius.\n", "labels": "Where was Ruisdael's father born?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d5aa5d48bae24881a2c4185dd49f4b5c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Francis Jean Marcel Poulenc (French: [f\u0281\u0251\u0303sis \u0292\u0251\u0303 ma\u0281s\u025bl pul\u025b\u0303k]; 7 January 1899 \u2013 30 January 1963) was a French composer and pianist. His compositions include m\u00e9lodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perp\u00e9tuels (1919), the ballet Les biches (1923), the Concert champ\u00eatre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carm\u00e9lites (1957), and the Gloria (1959) for soprano, choir and orchestra.\nAs the only son of a prosperous manufacturer Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Vi\u00f1es, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.\nIn addition to composing, Poulenc was an accomplished pianist. He was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval, touring in Europe and America with each, and making many recordings. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards.\nIn his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked. During the 21st century more attention has been given to his serious works, with many new productions of Dialogues des Carm\u00e9lites and La voix humaine worldwide, and numerous live and recorded performances of his songs and choral music.\n", "labels": "What was the first name of the person who was expected to follow his father into the family firm?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6713aae1440842499a36d28dbc15a7f1"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Many outtakes from the album have been released or exist. \"Time\" and a cover version of Dion and the Belmonts' \"Teenager in Love\" were released on the \"By the Way\" single. \"Body of Water,\" \"Out of Range,\" \"Someone\" and \"Rivers of Avalon\" were all released on \"The Zephyr Song\" single. \"Slowly Deeply,\" which was featured on the \"Universally Speaking\" single, is an outtake from the Californication sessions. \"Fortune Faded,\" a song originally recorded during the album sessions was later re-recorded in 2003 and released as a single along with the b-side, \"Eskimo,\" another By the Way outtake. A cover version of the Ramones' \"Havana Affair\" was also recorded and later released in 2003 on 'We're A Happy Family: A Tribute to The Ramones. The single for \"Can't Stop\" also features an alternate mix of the song with higher harmonies and a clearer bass line. In 2003, the band re-entered the studio to work on its Greatest Hits album. The sessions produced enough songs for a new album, many which have gone unreleased. Of the songs released, \"Bicycle Song\" and \"Runaway\" were released in 2006 as bonus tracks on the iTunes release of By the Way.\nIn August 2014, unreleased tracks from the album's recording sessions were leaked to the internet. Many of the album's released songs and outtakes are in their earliest forms and feature improvised lyrics by Kiedis. The leak included three songs never heard before including \"Goldmine,\" \"Fall Water\" and \"Rock & Roll\" along with the original version of \"Fortune Faded.\" Many of the songs are featured under their working titles (which prior to release were also mentioned in various interviews): Soul Train (\"By the Way\"), Coltraine (\"The Zephyr Song\"), I Would Die (\"I Could Die For You\"), Drone (\"This is the Place\"), Throw Away (\"Throw Away Your Television\"), Epic (\"Venice Queen\") and New Wave (\"Quixoticelixer\") To date, \"Strumming on  D and J\", a song assumed to be an instrumental jam and that Frusciante mentioned during pre-album release interviews, has never been released.\n", "labels": "What was the name of the instrumental song never released on the album that featured \"Can't Stop\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e93f5629813640718c725e1a056fe55f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: L'incoronazione di Poppea was first performed at the Teatro Santi Giovanni e Paolo, Venice, as part of the 1642\u201343 carnival season. The theatre, opened in 1639, had earlier staged the premi\u00e8re of Monteverdi's opera Le Nozze d'Enea in Lavinia, and a revival of the composer's Il ritorno d'Ulisse in patria. The theatre was later described by an observer: \"... marvellous scene changes, majestic and grand appearances [of the performers] ... and a magnificent flying machine; you see, as if commonplace, glorious heavens, deities, seas, royal palaces, woods, forests ...\". The theatre held about 900 people, and the stage was much bigger than the auditorium.The date of the first performance of L'incoronazione and the number of times the work was performed are unknown; the only date recorded is that of the beginning of the carnival, 26 December 1642. A surviving scenario, or synopsis, prepared for the first performances, gives neither the date nor the composer's name. The identity of only one of the premi\u00e8re cast is known for certain: Anna Renzi, who played Ottavia. Renzi, in her early twenties, is described by Ringer as \"opera's first prima donna\" and was, according to a contemporary source, \"as skillful in acting as she [was] excellent in music\". On the basis of the casting of the opera which shared the theatre with L'incoronazione during the 1642\u201343 season, it is possible that Poppea was played by Anna di Valerio, and Nerone by the castrato Stefano Costa. There are no surviving accounts of the opera's public reception, unless the encomium to the singer playing Poppea, part of the libretto documentation discovered at Udine in 1997, relates to the first performance.There is only one documented early revival of L'incoronazione, in Naples in 1651. The fact that it was revived at all is noted by Carter as \"remarkable, in an age where memories were short and large-scale musical works often had limited currency beyond their immediate circumstance.\" Thereafter there are no records of the work's performance for more than 250 years.\n", "labels": "What was the name of the theatre that held about 900 people and whose stage was much bigger than the auditorium?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-1f69687da3064515aa941455a09490aa"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Title TK begins with \"Little Fury\", named after a kind of pocketknife sold at truck stops with the word \"fury\" written along the side of the blade. On the call and response track, the Deal sisters sing over a heavy bassline, a funky drumbeat, and guitar sounds influenced by surf music and grunge. J.R. Moores wrote for Drowned in Sound that \"Somebody considers unleashing a guitar solo, yet its notes are few and the vocals kick back in before it has the chance to go anywhere. Is it a solo or a riff? Whatever it is, it flicks its middle finger at other solos and riffs, exposing them as absurd, flamboyant, shallow fripperies. I'm not part of that club, it says.\" For PopMatters's Matt Cibula, the repeated line \"Hold what you've got\" is the Deals' reminder to themselves to keep the Breeders intact henceforth.On \"London Song\", Jim Abbott at The Orlando Sentinel said the syncopated guitar performance complements Title TK's \"world-weary attitude,\" just as the sisters' \"tough lost years ... [are] obvious from Kim's disconnected delivery on songs about hard times\". By contrast, NY Rock's Jeanne Fury noted the track's upbeat, quirky energy. In the Japanese release's liner notes, critic Mia Clarke described the slow ballad \"Off You\" as having a lackadaisical feel; Pitchfork Media's Will Bryant was struck by the song's creepy quality, and compared it to the mood of the Pink Floyd album The Wall. Rolling Stone's Arion Berger said \"Off You\" is \"as direct and heartbreaking as an eighty-five-year-old blues recording, and Kim, her voice clear and full of hope, can't help sounding like a young woman who's lived ten awful lifetimes.\"\"The She\", named after a nightclub that the Deals' brother used to visit, has been described as having a funky feel, with a start-and-stop rhythm of bass and drums. Bryant found the track's keyboard part reminiscent of Stereolab's music, while AllMusic's Heather Phares likened the entire song to Jefferson Airplane's \"White Rabbit\". Cibula mentioned that the \"creepy/cool ... sound [fits] the characteristic Kim Deal familiar/strange lyrics: 'Sorrow blowin' through the vents / I'm over Houston / You're over the night we met.'\" Kim Deal plays every instrument on \"Too Alive\" and both sisters sing. Moores noted the track's buoyant feel and the steady strumming style of Deal's guitar. To Phares, the song possesses an immediacy as though the listener were there watching the performance in person.\n", "labels": "To Phares, what song possesses an immediacy as though the listener were there watching the performance in person?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e12bba81f0f349049a5341dbd5cbdd8e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Title TK begins with \"Little Fury\", named after a kind of pocketknife sold at truck stops with the word \"fury\" written along the side of the blade. On the call and response track, the Deal sisters sing over a heavy bassline, a funky drumbeat, and guitar sounds influenced by surf music and grunge. J.R. Moores wrote for Drowned in Sound that \"Somebody considers unleashing a guitar solo, yet its notes are few and the vocals kick back in before it has the chance to go anywhere. Is it a solo or a riff? Whatever it is, it flicks its middle finger at other solos and riffs, exposing them as absurd, flamboyant, shallow fripperies. I'm not part of that club, it says.\" For PopMatters's Matt Cibula, the repeated line \"Hold what you've got\" is the Deals' reminder to themselves to keep the Breeders intact henceforth.On \"London Song\", Jim Abbott at The Orlando Sentinel said the syncopated guitar performance complements Title TK's \"world-weary attitude,\" just as the sisters' \"tough lost years ... [are] obvious from Kim's disconnected delivery on songs about hard times\". By contrast, NY Rock's Jeanne Fury noted the track's upbeat, quirky energy. In the Japanese release's liner notes, critic Mia Clarke described the slow ballad \"Off You\" as having a lackadaisical feel; Pitchfork Media's Will Bryant was struck by the song's creepy quality, and compared it to the mood of the Pink Floyd album The Wall. Rolling Stone's Arion Berger said \"Off You\" is \"as direct and heartbreaking as an eighty-five-year-old blues recording, and Kim, her voice clear and full of hope, can't help sounding like a young woman who's lived ten awful lifetimes.\"\"The She\", named after a nightclub that the Deals' brother used to visit, has been described as having a funky feel, with a start-and-stop rhythm of bass and drums. Bryant found the track's keyboard part reminiscent of Stereolab's music, while AllMusic's Heather Phares likened the entire song to Jefferson Airplane's \"White Rabbit\". Cibula mentioned that the \"creepy/cool ... sound [fits] the characteristic Kim Deal familiar/strange lyrics: 'Sorrow blowin' through the vents / I'm over Houston / You're over the night we met.'\" Kim Deal plays every instrument on \"Too Alive\" and both sisters sing. Moores noted the track's buoyant feel and the steady strumming style of Deal's guitar. To Phares, the song possesses an immediacy as though the listener were there watching the performance in person.\n", "labels": "What is the last name of the individual whose voice, according to Arion Berger, \"can't help sounding like a young woman who's lived ten awful lifetimes\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e12bba81f0f349049a5341dbd5cbdd8e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Title TK begins with \"Little Fury\", named after a kind of pocketknife sold at truck stops with the word \"fury\" written along the side of the blade. On the call and response track, the Deal sisters sing over a heavy bassline, a funky drumbeat, and guitar sounds influenced by surf music and grunge. J.R. Moores wrote for Drowned in Sound that \"Somebody considers unleashing a guitar solo, yet its notes are few and the vocals kick back in before it has the chance to go anywhere. Is it a solo or a riff? Whatever it is, it flicks its middle finger at other solos and riffs, exposing them as absurd, flamboyant, shallow fripperies. I'm not part of that club, it says.\" For PopMatters's Matt Cibula, the repeated line \"Hold what you've got\" is the Deals' reminder to themselves to keep the Breeders intact henceforth.On \"London Song\", Jim Abbott at The Orlando Sentinel said the syncopated guitar performance complements Title TK's \"world-weary attitude,\" just as the sisters' \"tough lost years ... [are] obvious from Kim's disconnected delivery on songs about hard times\". By contrast, NY Rock's Jeanne Fury noted the track's upbeat, quirky energy. In the Japanese release's liner notes, critic Mia Clarke described the slow ballad \"Off You\" as having a lackadaisical feel; Pitchfork Media's Will Bryant was struck by the song's creepy quality, and compared it to the mood of the Pink Floyd album The Wall. Rolling Stone's Arion Berger said \"Off You\" is \"as direct and heartbreaking as an eighty-five-year-old blues recording, and Kim, her voice clear and full of hope, can't help sounding like a young woman who's lived ten awful lifetimes.\"\"The She\", named after a nightclub that the Deals' brother used to visit, has been described as having a funky feel, with a start-and-stop rhythm of bass and drums. Bryant found the track's keyboard part reminiscent of Stereolab's music, while AllMusic's Heather Phares likened the entire song to Jefferson Airplane's \"White Rabbit\". Cibula mentioned that the \"creepy/cool ... sound [fits] the characteristic Kim Deal familiar/strange lyrics: 'Sorrow blowin' through the vents / I'm over Houston / You're over the night we met.'\" Kim Deal plays every instrument on \"Too Alive\" and both sisters sing. Moores noted the track's buoyant feel and the steady strumming style of Deal's guitar. To Phares, the song possesses an immediacy as though the listener were there watching the performance in person.\n", "labels": "What is the title of the song Will Bryant compared to the mood of the Pink Floyd album The Wall?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e12bba81f0f349049a5341dbd5cbdd8e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Title TK begins with \"Little Fury\", named after a kind of pocketknife sold at truck stops with the word \"fury\" written along the side of the blade. On the call and response track, the Deal sisters sing over a heavy bassline, a funky drumbeat, and guitar sounds influenced by surf music and grunge. J.R. Moores wrote for Drowned in Sound that \"Somebody considers unleashing a guitar solo, yet its notes are few and the vocals kick back in before it has the chance to go anywhere. Is it a solo or a riff? Whatever it is, it flicks its middle finger at other solos and riffs, exposing them as absurd, flamboyant, shallow fripperies. I'm not part of that club, it says.\" For PopMatters's Matt Cibula, the repeated line \"Hold what you've got\" is the Deals' reminder to themselves to keep the Breeders intact henceforth.On \"London Song\", Jim Abbott at The Orlando Sentinel said the syncopated guitar performance complements Title TK's \"world-weary attitude,\" just as the sisters' \"tough lost years ... [are] obvious from Kim's disconnected delivery on songs about hard times\". By contrast, NY Rock's Jeanne Fury noted the track's upbeat, quirky energy. In the Japanese release's liner notes, critic Mia Clarke described the slow ballad \"Off You\" as having a lackadaisical feel; Pitchfork Media's Will Bryant was struck by the song's creepy quality, and compared it to the mood of the Pink Floyd album The Wall. Rolling Stone's Arion Berger said \"Off You\" is \"as direct and heartbreaking as an eighty-five-year-old blues recording, and Kim, her voice clear and full of hope, can't help sounding like a young woman who's lived ten awful lifetimes.\"\"The She\", named after a nightclub that the Deals' brother used to visit, has been described as having a funky feel, with a start-and-stop rhythm of bass and drums. Bryant found the track's keyboard part reminiscent of Stereolab's music, while AllMusic's Heather Phares likened the entire song to Jefferson Airplane's \"White Rabbit\". Cibula mentioned that the \"creepy/cool ... sound [fits] the characteristic Kim Deal familiar/strange lyrics: 'Sorrow blowin' through the vents / I'm over Houston / You're over the night we met.'\" Kim Deal plays every instrument on \"Too Alive\" and both sisters sing. Moores noted the track's buoyant feel and the steady strumming style of Deal's guitar. To Phares, the song possesses an immediacy as though the listener were there watching the performance in person.\n", "labels": "What is the title of the track whose keyboard part Bryant finds reminiscent of Stereolab's music?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e12bba81f0f349049a5341dbd5cbdd8e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1823, brash naval officer David Farragut boards the Essex and informs its commander, David Porter, that the Navy is commandeering the ship for a top-secret mission. Although the crew is overdue for shore leave, Porter, a cold, efficient leader, lies to them in order to coerce them to volunteer for the dangerous assignment. Farragut soon reunites with his old shipmate, Chief Petty Officer Link, who tries to convince him that Porter, who years earlier trained Farragut harshly in an attempt to teach him patience and discipline, is not as heartless as he appears. This starts to show itself when Porter later reconciles with Farragut about their past and agree to be civil with one another.\nOnce the ship is at sea, Porter and Farragut open their orders and are dismayed to discover their mission: to disguise themselves as pirates, with no ties to or protection from the United States, in order to track down pirates raiding the West Indies. One night soon after, Farragut is in charge of the ship when a storm hits. Link becomes trapped beneath a keg of rum from which he has tried to sneak a drink and Farragut is forced to break the ship's rudder to rescue him. Porter discovers the damage, but even when he threatens to court-martial Farragut, the officer refuses to inform on Link.\nWithin days, the supplies begin to run out, one of the crew contracts scurvy, and Porter steers the rudderless Essex to the West Indies for repairs and supplies. Farragut grows frustrated with the slow drift and, although Porter forbids anyone to enter the shark-infested waters, he tries to repair the rudder himself. When a shark attacks and Farragut's rope catches on a barnacle, he is barely rescued in time, and Porter chastises him again. Six days later, the men finally reach land and Porter orders Farragut and Link to gather supplies.\n", "labels": "What's the last name of the man the brash naval officer was trained by?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d66c4af9fb874fca8a1d7acad864f7fc"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1823, brash naval officer David Farragut boards the Essex and informs its commander, David Porter, that the Navy is commandeering the ship for a top-secret mission. Although the crew is overdue for shore leave, Porter, a cold, efficient leader, lies to them in order to coerce them to volunteer for the dangerous assignment. Farragut soon reunites with his old shipmate, Chief Petty Officer Link, who tries to convince him that Porter, who years earlier trained Farragut harshly in an attempt to teach him patience and discipline, is not as heartless as he appears. This starts to show itself when Porter later reconciles with Farragut about their past and agree to be civil with one another.\nOnce the ship is at sea, Porter and Farragut open their orders and are dismayed to discover their mission: to disguise themselves as pirates, with no ties to or protection from the United States, in order to track down pirates raiding the West Indies. One night soon after, Farragut is in charge of the ship when a storm hits. Link becomes trapped beneath a keg of rum from which he has tried to sneak a drink and Farragut is forced to break the ship's rudder to rescue him. Porter discovers the damage, but even when he threatens to court-martial Farragut, the officer refuses to inform on Link.\nWithin days, the supplies begin to run out, one of the crew contracts scurvy, and Porter steers the rudderless Essex to the West Indies for repairs and supplies. Farragut grows frustrated with the slow drift and, although Porter forbids anyone to enter the shark-infested waters, he tries to repair the rudder himself. When a shark attacks and Farragut's rope catches on a barnacle, he is barely rescued in time, and Porter chastises him again. Six days later, the men finally reach land and Porter orders Farragut and Link to gather supplies.\n", "labels": "What is Porter's ship lacking that causes it to slowly drift?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d66c4af9fb874fca8a1d7acad864f7fc"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1823, brash naval officer David Farragut boards the Essex and informs its commander, David Porter, that the Navy is commandeering the ship for a top-secret mission. Although the crew is overdue for shore leave, Porter, a cold, efficient leader, lies to them in order to coerce them to volunteer for the dangerous assignment. Farragut soon reunites with his old shipmate, Chief Petty Officer Link, who tries to convince him that Porter, who years earlier trained Farragut harshly in an attempt to teach him patience and discipline, is not as heartless as he appears. This starts to show itself when Porter later reconciles with Farragut about their past and agree to be civil with one another.\nOnce the ship is at sea, Porter and Farragut open their orders and are dismayed to discover their mission: to disguise themselves as pirates, with no ties to or protection from the United States, in order to track down pirates raiding the West Indies. One night soon after, Farragut is in charge of the ship when a storm hits. Link becomes trapped beneath a keg of rum from which he has tried to sneak a drink and Farragut is forced to break the ship's rudder to rescue him. Porter discovers the damage, but even when he threatens to court-martial Farragut, the officer refuses to inform on Link.\nWithin days, the supplies begin to run out, one of the crew contracts scurvy, and Porter steers the rudderless Essex to the West Indies for repairs and supplies. Farragut grows frustrated with the slow drift and, although Porter forbids anyone to enter the shark-infested waters, he tries to repair the rudder himself. When a shark attacks and Farragut's rope catches on a barnacle, he is barely rescued in time, and Porter chastises him again. Six days later, the men finally reach land and Porter orders Farragut and Link to gather supplies.\n", "labels": "To whom does David Porter lie in order to coerce them to volunteer for a dangerous assignment?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d66c4af9fb874fca8a1d7acad864f7fc"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1823, brash naval officer David Farragut boards the Essex and informs its commander, David Porter, that the Navy is commandeering the ship for a top-secret mission. Although the crew is overdue for shore leave, Porter, a cold, efficient leader, lies to them in order to coerce them to volunteer for the dangerous assignment. Farragut soon reunites with his old shipmate, Chief Petty Officer Link, who tries to convince him that Porter, who years earlier trained Farragut harshly in an attempt to teach him patience and discipline, is not as heartless as he appears. This starts to show itself when Porter later reconciles with Farragut about their past and agree to be civil with one another.\nOnce the ship is at sea, Porter and Farragut open their orders and are dismayed to discover their mission: to disguise themselves as pirates, with no ties to or protection from the United States, in order to track down pirates raiding the West Indies. One night soon after, Farragut is in charge of the ship when a storm hits. Link becomes trapped beneath a keg of rum from which he has tried to sneak a drink and Farragut is forced to break the ship's rudder to rescue him. Porter discovers the damage, but even when he threatens to court-martial Farragut, the officer refuses to inform on Link.\nWithin days, the supplies begin to run out, one of the crew contracts scurvy, and Porter steers the rudderless Essex to the West Indies for repairs and supplies. Farragut grows frustrated with the slow drift and, although Porter forbids anyone to enter the shark-infested waters, he tries to repair the rudder himself. When a shark attacks and Farragut's rope catches on a barnacle, he is barely rescued in time, and Porter chastises him again. Six days later, the men finally reach land and Porter orders Farragut and Link to gather supplies.\n", "labels": "What is the full name of the character who Link believes is not as heartless as he appears?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d66c4af9fb874fca8a1d7acad864f7fc"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1823, brash naval officer David Farragut boards the Essex and informs its commander, David Porter, that the Navy is commandeering the ship for a top-secret mission. Although the crew is overdue for shore leave, Porter, a cold, efficient leader, lies to them in order to coerce them to volunteer for the dangerous assignment. Farragut soon reunites with his old shipmate, Chief Petty Officer Link, who tries to convince him that Porter, who years earlier trained Farragut harshly in an attempt to teach him patience and discipline, is not as heartless as he appears. This starts to show itself when Porter later reconciles with Farragut about their past and agree to be civil with one another.\nOnce the ship is at sea, Porter and Farragut open their orders and are dismayed to discover their mission: to disguise themselves as pirates, with no ties to or protection from the United States, in order to track down pirates raiding the West Indies. One night soon after, Farragut is in charge of the ship when a storm hits. Link becomes trapped beneath a keg of rum from which he has tried to sneak a drink and Farragut is forced to break the ship's rudder to rescue him. Porter discovers the damage, but even when he threatens to court-martial Farragut, the officer refuses to inform on Link.\nWithin days, the supplies begin to run out, one of the crew contracts scurvy, and Porter steers the rudderless Essex to the West Indies for repairs and supplies. Farragut grows frustrated with the slow drift and, although Porter forbids anyone to enter the shark-infested waters, he tries to repair the rudder himself. When a shark attacks and Farragut's rope catches on a barnacle, he is barely rescued in time, and Porter chastises him again. Six days later, the men finally reach land and Porter orders Farragut and Link to gather supplies.\n", "labels": "What are the full names of the characters who are supposed to track down pirates while disguised as pirates?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d66c4af9fb874fca8a1d7acad864f7fc"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "Who are the four people reluctant to join forces with the Colonel?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "Who gave a drunk order during the Battle of Murfreesboro?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "What is the full name of the person who is attacked by a panther?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "What are the names of all the people who find two dead deserters killed by Seminoles?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "What are the names of the people who encounter a seemingly abandoned Seminole settlement?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "What are the full names of the people who encounter a seemingly abandoned Seminole settlement?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: It is the Florida Everglades in 1863. Four deserters of the Confederate Army\u2014Sergeant Todd, Plunkett, Cockney and the Kid\u2014are hiding out. The Colonel, a fellow deserter, appears from the brush with a note from an Indian who has arranged to take him to the ocean so he may be taken to Cuba. When the Indian guide is found dead by Seminoles, the foursome reluctantly join forces with the Colonel in order to reach the coast and ride out the rest of the Civil War.\nAs the group treks through the dangerous Florida everglades, it's revealed that Plunkett has stolen a large amount of gold from the Confederate army, which Cockney wants to steal from him. The group continues its trek, and it is revealed Cockney is drop-dead afraid of snakes, and being in close contact with them sends him into a paralyzed state. Cockney also reveals that the Colonel deserted after giving drunk orders during the Battle of Murfreesboro, leading to a slaughter. A drought ensues, and when the group reaches water, they also find two dead fellow deserters, killed by Seminoles. The Colonel wishes to bury them, but the foursome disagrees, citing the danger of nearby Seminoles. However, the Kid changes their minds. Soon after, the Colonel begins experiencing troubles, getting a fever, and hallucinating. The group sees smoke, and the Sergeant (the leader of the group) goes to investigate and is attacked by a panther. The rest of the group follows and encounters a seemingly abandoned Seminole settlement. The Colonel, in his deranged state, charges head first into the encampment and is shot by an arrow. The Sergeant rejoins the group and they are attacked by Seminoles. Though they escape, the Colonel dies that evening. After the Colonel's death, the Sergeant declares that it's every man for himself.\n", "labels": "What are the full names of the all the people that the Sergeant rejoins?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-31c39ac885344d36a4814aa3dc4ba8ec"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the last name of the person who went to Karlsruhe in Germany as assistant to Krips?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the first name of the person who insisted that Solti should go home to Budapest?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the first name of the person who wrote Falstaff?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the last name of the person who had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the full name of the person who said \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill?\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the full name of the person who asked Solti if he could play for the stage rehearsals?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the last name of the person who Arturo Toscanini asked if he knew Magic Flute?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the first name of the person who received Solti?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the first name of the person Solti felt meeting was a chance in a million?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a r\u00e9p\u00e9titeur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:\nToscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: \"Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?\".\n", "labels": "What is the last name of the person that the man who was appointed the staff of the Hungarian State Opera was assistant to?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-66a40ca375ec49ce89e616dd1ebe1061"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Although Moran's transition as The Wiggles' lead singer was \"smooth\" for the young children of their audience, it was more difficult for their parents.  Moran said that \"most children understood\".  Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page.  Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound.  Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform.  The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year.  Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia.At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up \"Wiggles World\" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009.  In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows.In early July 2011, founding member Fatt developed arrhythmia and underwent \"urgent but routine\" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out.  He missed the group's US tour as a result, after not missing a show in 20 years.  Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a \"physically grueling\" birthday-themed tour of 90 shows throughout Australia, which Paul Field called \"one of the biggest of their careers\".  Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia.In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent.  Royalties partially offset the difference between their 2010 and 2011 revenues.  Their managing director Mike Conway called 2011 their toughest year financially.  For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations.  Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform.\n", "labels": "What was the last name of the managing director of the Wiggles?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-de2339b598a4426f8c57432dd99bf872"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Although Moran's transition as The Wiggles' lead singer was \"smooth\" for the young children of their audience, it was more difficult for their parents.  Moran said that \"most children understood\".  Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page.  Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound.  Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform.  The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year.  Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia.At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up \"Wiggles World\" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009.  In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows.In early July 2011, founding member Fatt developed arrhythmia and underwent \"urgent but routine\" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out.  He missed the group's US tour as a result, after not missing a show in 20 years.  Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a \"physically grueling\" birthday-themed tour of 90 shows throughout Australia, which Paul Field called \"one of the biggest of their careers\".  Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia.In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent.  Royalties partially offset the difference between their 2010 and 2011 revenues.  Their managing director Mike Conway called 2011 their toughest year financially.  For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations.  Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform.\n", "labels": "What three circumstances made 2011 the toughest financially for The Wiggles?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-de2339b598a4426f8c57432dd99bf872"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Although Moran's transition as The Wiggles' lead singer was \"smooth\" for the young children of their audience, it was more difficult for their parents.  Moran said that \"most children understood\".  Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page.  Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound.  Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform.  The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year.  Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia.At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up \"Wiggles World\" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009.  In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows.In early July 2011, founding member Fatt developed arrhythmia and underwent \"urgent but routine\" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out.  He missed the group's US tour as a result, after not missing a show in 20 years.  Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a \"physically grueling\" birthday-themed tour of 90 shows throughout Australia, which Paul Field called \"one of the biggest of their careers\".  Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia.In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent.  Royalties partially offset the difference between their 2010 and 2011 revenues.  Their managing director Mike Conway called 2011 their toughest year financially.  For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations.  Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform.\n", "labels": "What channel did The Wiggles have a five-year-long partnership with?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-de2339b598a4426f8c57432dd99bf872"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the first name of the person who, at first, ridiculed Walton's romantic interest in her?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the name of the person who persisted in his proposal of marriage, which was eventually accepted by Susana?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "Whose librettist did each of the Sitwells think they should have been asked to be?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the name of the person who was commissioned to write a choral setting of the Te Deum for the coronation?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the name of the work whose preparation was dogged by misfortunes?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the name of the piece that was staged in San Francisco, New York and Milan but reportedly failed to make a positive impression?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the last name of the person whose preliminary work came to a halt in April 1948?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the last name of the person who was persuaded to be a British delegate to a conference in Buenos Aires?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the last name of the person Alice was 22 years older than?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What is the last name of the person who was romantically interested in Susana?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.\n While there, Walton met Susana Gil Passo (1926\u20132010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Fa\u00e7ade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda L\u00e1szl\u00f3, had difficulty mastering the English words; and Sargent, the conductor, \"did not seem well acquainted with the score\". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.\n", "labels": "What are the last names of the people whose wedding was held in Buenos Aires in December 1948?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ee66d0882d914e8aaf858ef49d562984"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Alodia, also known as Alwa (Greek: A\u03c1\u03bf\u03c5\u03b1, Aroua; Arabic: \u0639\u0644\u0648\u0629\u200e, \u02bfAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.\nFounded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th\u201312th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of \"extensive dwellings and churches full of gold and gardens\", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.\nFrom the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.\n", "labels": "What was the last of the three Nubian kingdoms to convert to Christianity in 580?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-67acae398db34ac7b404249f282f6d71"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Alodia, also known as Alwa (Greek: A\u03c1\u03bf\u03c5\u03b1, Aroua; Arabic: \u0639\u0644\u0648\u0629\u200e, \u02bfAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.\nFounded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th\u201312th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of \"extensive dwellings and churches full of gold and gardens\", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.\nFrom the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.\n", "labels": "What kingdom reached its peak during the 9th\u201312th centuries when records show that it exceeded its northern neighbor?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-67acae398db34ac7b404249f282f6d71"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Alodia, also known as Alwa (Greek: A\u03c1\u03bf\u03c5\u03b1, Aroua; Arabic: \u0639\u0644\u0648\u0629\u200e, \u02bfAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.\nFounded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th\u201312th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of \"extensive dwellings and churches full of gold and gardens\", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.\nFrom the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.\n", "labels": "What kingdom maintained close dynastic ties, in size, military power and economic prosperity with Makuria?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-67acae398db34ac7b404249f282f6d71"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Alodia, also known as Alwa (Greek: A\u03c1\u03bf\u03c5\u03b1, Aroua; Arabic: \u0639\u0644\u0648\u0629\u200e, \u02bfAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.\nFounded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th\u201312th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of \"extensive dwellings and churches full of gold and gardens\", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.\nFrom the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.\n", "labels": "What likely marked the end of Alodia?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-67acae398db34ac7b404249f282f6d71"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Another major influence in his work was the rise of interest in vernacular architecture. By the time Douglas moved to Chester, the black-and-white revival using half-timbering was well under way, and Douglas came to incorporate this style in his buildings in Chester and elsewhere. The black-and-white revival did not start in Chester, but it did become Chester's speciality. The first Chester architect involved in the revival had been Thomas Mainwaring Penson, whose first work in this genre was the restoration of a shop in Eastgate Street in the early 1850s. Other early Chester architects involved in the revival were T. A. Richardson and James Harrison and it came to be developed mainly by T. M. Lockwood and by Douglas. Part of Douglas's earliest work for the Grosvenor family, the entrance lodge to Grosvenor Park, used half-timbering in its upper storey; this is the first known use by Douglas of black-and-white. Other vernacular motifs were taken from earlier styles of English architecture, in particular, the Tudor style. These include tile-hanging, pargetting and massive brick ribbed chimney stacks. In this style, Douglas was influenced by the architects Nesfield and Shaw. Douglas also used vernacular elements from the continent, especially the late medieval brickwork of Germany and the Low Countries.A characteristic of Douglas's work is his attention to both external and internal detailing. Such detailing was not derived from any particular style and Douglas chose elements from whichever style suited his purpose for each specific project. His detailing applied particularly to his joinery, perhaps inspired by his experience in his father's workshop, and was applied both to wooden fittings and to the furniture he designed. A further Continental influence was his use of a Dutch gable. The most important and consistently used element in Douglas's vernacular buildings was his use of half-timbering, which was usually used for parts of the building. However, in the cases of Rowden Abbey and St Michael and All Angels Church, Altcar, the entire buildings were timber-framed.\n", "labels": "Half-timbering is a component of what type of architecture?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3a4ce9a8c0e6401e9549c3966f0773f7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the exact name of the church recently visited by a blonde haired woman?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person being pursued by the Chief of Police?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person who thinks that Cavaradossi has been talking to another woman?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person who recognises the woman in the painting as the Marchesa Attavanti?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person of whose fidelity Tosca is reassured?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person whose plan is to flee disguised as a woman, using clothes left in the chapel by his sister?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person whose sister has left him clothes inside the chapel to facilitate his escape?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person who learns that Cavaradossi has been in the church?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the full name of the person Scarpia mistrusts and believes to be complicit in Angelotti's escape?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the last name of the person whose suspicions are aroused further when he learns that Cavaradossi has been in the church?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the last name of the person of whose fidelity Tosca is reassured?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Inside the church of Sant'Andrea della Valle\nCesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel \u2013 his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.\nThe painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the \"hidden harmony\" (\"Recondita armonia\") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.\nAngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.\nTosca enters and suspiciously asks Cavaradossi what he has been doing \u2013 she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: \"Non la sospiri, la nostra casetta\" (\"Do you not long for our little cottage\"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: \"Qual'occhio al mondo\" (\"What eyes in the world\").\nAfter Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.\nThe Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.\n", "labels": "What is the last name of the person Cavaradossi promises to assist after nightfall?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f70b38d2c4684e2dbed5d25addfa1d2c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What were the last names of the band members who had health problems during the 1995 tour?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What is the full name of the person who had harassment charges levied against him by a member of the band's home office in Athens?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What is the full name of the person who replaced the man who had harassment charges levied against him?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What is the full name of the man who replaced the manager that was accused of sexual assault?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What is the name of the album released that sold 5 million copies?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What is the full name of the man that the band who was rumored to sign of $80 million recording contract parted ways with?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, \"a 'rock' record, with the rock in quotation marks.\" In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles \"What's the Frequency, Kenneth?\" and \"Bang and Blame\" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties.\n", "labels": "What is the name of the album that had lesser sales by the group that recorded the final three performances of their tour?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f98ae6459e0d4408adc977c8503eaf9c"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the full name of the person who was inspired by another artist's minimalistic approach to music?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the full name of the person who found Peaches' decision to perform without additional instrumentation to be brave and liberating?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the full name of the person who unexpectedly gained access to a 505 in London?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the full name of the person who initially planned to work as a producer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the full name of the person who honed the finished songs in collaboration with other writer-producers?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who was introduced to the Roland MC-505 sequencer/drum machine by Peaches?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who filmed a documentary on Elastica's 2001 tour of the US?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who returned to London and unexpectedly gained access to a 505 owned by her friend?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who initially planned to work as a producer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who approached Caribbean girls in clubs to see if they would provide vocals for songs?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who programmed drum beats at home on the drum machine?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the real name of the person who honed the finished songs in collaboration with other writer-producers?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What are the real names of the men that helped add a \"more analogue sound\" to a song previously recorded by M.I.A?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the name of the song that the artist who secured a record deal with XL Recordings added a a bass line and new vocals while working with Cavemen?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the full name of the composer who worked on a song with sounds from Indian toys bought by the artist who programmed drum beats at home on the drum machine?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the nickname of the artist who added Brazilian baile funk to a song made by the musician who was once worked exclusively in the visual arts?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the name of the track that was co-written by Frischmann, whose input M.I.A. described as \"refreshing\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 2001, M.I.A. (Mathangi \"Maya\" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.\nM.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and \"drag [her collaborators] out of their boxes, musically\".DJ Diplo introduced elements of Brazilian baile funk to \"Bucky Done Gun\". Fellow composer-producer Richard X worked on the track \"Hombre\", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on \"Galang\", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song \"a more analogue sound\" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as \"refreshing\". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, \"I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.\".\n", "labels": "What is the first name of the person whose manager overheard the demo, after which M.I.A. secured a record deal with XL Recordings?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4dfb2aecc299437798f131ff3640b77f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film is a semi-biographical story based upon the early life and rise to prominence of Native American dog musher George Attla, Jr. (1933\u20132015).  Attla, known as \"the Huslia Hustler,\" took his nickname from one of his mentors, Jimmy Huntington, who first began winning races during Attla's childhood.  In recent generations, this nickname has become associated with Attla far more than with Huntington.  Attla was a leading star of the 1960s and 1970s in the sport of sprint dog sled racing.  He won the Fur Rendezvous World Championship race, held in Anchorage, Alaska, 10 times between 1958 and 1982.  He also won 8 championships in the Open North American Championship race, held in Fairbanks, Alaska.  In addition, despite his mushing experience being geared more towards sprint than distance racing, Attla competed in the inaugural Iditarod Trail Sled Dog Race in 1973, placing fifth.  In a 2011 interview, Attla spoke of the popularity of the Iditarod, and how sprint racing \"is now a second-class sport\" as a result.\nThe general theme of the story centered around Attla's rivalry with the other leading sprint competitors of the day, fellow Alaska Native Gareth Wright (the brother of political gadfly Don Wright and grandfather of modern-day dog musher Ramy Brooks) and Massachusetts musher Roland \"Doc\" Lombard, the preparations for an upcoming big race, and his first major race victory.\nThe movie was shot on location in Fairbanks, Alaska.  A number of local actors, including local Alaska Natives, University of Alaska Fairbanks professor Lee Salisbury, and KFAR disc jockey/newscaster Bill Walley, appear in minor roles.\n", "labels": "What is the full name of the person who is now known as the Huslia Hustler?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7af53c09fdb04ed4b5a866c394a00a15"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film is a semi-biographical story based upon the early life and rise to prominence of Native American dog musher George Attla, Jr. (1933\u20132015).  Attla, known as \"the Huslia Hustler,\" took his nickname from one of his mentors, Jimmy Huntington, who first began winning races during Attla's childhood.  In recent generations, this nickname has become associated with Attla far more than with Huntington.  Attla was a leading star of the 1960s and 1970s in the sport of sprint dog sled racing.  He won the Fur Rendezvous World Championship race, held in Anchorage, Alaska, 10 times between 1958 and 1982.  He also won 8 championships in the Open North American Championship race, held in Fairbanks, Alaska.  In addition, despite his mushing experience being geared more towards sprint than distance racing, Attla competed in the inaugural Iditarod Trail Sled Dog Race in 1973, placing fifth.  In a 2011 interview, Attla spoke of the popularity of the Iditarod, and how sprint racing \"is now a second-class sport\" as a result.\nThe general theme of the story centered around Attla's rivalry with the other leading sprint competitors of the day, fellow Alaska Native Gareth Wright (the brother of political gadfly Don Wright and grandfather of modern-day dog musher Ramy Brooks) and Massachusetts musher Roland \"Doc\" Lombard, the preparations for an upcoming big race, and his first major race victory.\nThe movie was shot on location in Fairbanks, Alaska.  A number of local actors, including local Alaska Natives, University of Alaska Fairbanks professor Lee Salisbury, and KFAR disc jockey/newscaster Bill Walley, appear in minor roles.\n", "labels": "What is the full name of the person who won the Fur Rendezvous World Championship race 10 times?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7af53c09fdb04ed4b5a866c394a00a15"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film is a semi-biographical story based upon the early life and rise to prominence of Native American dog musher George Attla, Jr. (1933\u20132015).  Attla, known as \"the Huslia Hustler,\" took his nickname from one of his mentors, Jimmy Huntington, who first began winning races during Attla's childhood.  In recent generations, this nickname has become associated with Attla far more than with Huntington.  Attla was a leading star of the 1960s and 1970s in the sport of sprint dog sled racing.  He won the Fur Rendezvous World Championship race, held in Anchorage, Alaska, 10 times between 1958 and 1982.  He also won 8 championships in the Open North American Championship race, held in Fairbanks, Alaska.  In addition, despite his mushing experience being geared more towards sprint than distance racing, Attla competed in the inaugural Iditarod Trail Sled Dog Race in 1973, placing fifth.  In a 2011 interview, Attla spoke of the popularity of the Iditarod, and how sprint racing \"is now a second-class sport\" as a result.\nThe general theme of the story centered around Attla's rivalry with the other leading sprint competitors of the day, fellow Alaska Native Gareth Wright (the brother of political gadfly Don Wright and grandfather of modern-day dog musher Ramy Brooks) and Massachusetts musher Roland \"Doc\" Lombard, the preparations for an upcoming big race, and his first major race victory.\nThe movie was shot on location in Fairbanks, Alaska.  A number of local actors, including local Alaska Natives, University of Alaska Fairbanks professor Lee Salisbury, and KFAR disc jockey/newscaster Bill Walley, appear in minor roles.\n", "labels": "What is the full name of the character who won dog sled races while Attla was a child?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7af53c09fdb04ed4b5a866c394a00a15"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film is a semi-biographical story based upon the early life and rise to prominence of Native American dog musher George Attla, Jr. (1933\u20132015).  Attla, known as \"the Huslia Hustler,\" took his nickname from one of his mentors, Jimmy Huntington, who first began winning races during Attla's childhood.  In recent generations, this nickname has become associated with Attla far more than with Huntington.  Attla was a leading star of the 1960s and 1970s in the sport of sprint dog sled racing.  He won the Fur Rendezvous World Championship race, held in Anchorage, Alaska, 10 times between 1958 and 1982.  He also won 8 championships in the Open North American Championship race, held in Fairbanks, Alaska.  In addition, despite his mushing experience being geared more towards sprint than distance racing, Attla competed in the inaugural Iditarod Trail Sled Dog Race in 1973, placing fifth.  In a 2011 interview, Attla spoke of the popularity of the Iditarod, and how sprint racing \"is now a second-class sport\" as a result.\nThe general theme of the story centered around Attla's rivalry with the other leading sprint competitors of the day, fellow Alaska Native Gareth Wright (the brother of political gadfly Don Wright and grandfather of modern-day dog musher Ramy Brooks) and Massachusetts musher Roland \"Doc\" Lombard, the preparations for an upcoming big race, and his first major race victory.\nThe movie was shot on location in Fairbanks, Alaska.  A number of local actors, including local Alaska Natives, University of Alaska Fairbanks professor Lee Salisbury, and KFAR disc jockey/newscaster Bill Walley, appear in minor roles.\n", "labels": "What is the full name of the character who won the Open North American Championship race 8 times?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7af53c09fdb04ed4b5a866c394a00a15"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, \"they were the rugger buggers and we were the cool people smoking dope\".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: \"He looked like a star. He looked wonderful, he seemed to be 7 ft [tall].\"\nHutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo recorded in Drake's college room in early 1968, Boyd offered Drake a management, publishing, and production contract. According to Boyd:In those days you didn't have cassettes\u2014he brought a reel-to-reel tape [to me] that he'd done at home. Half way through the first song, I felt this was pretty special. And I called him up, and he came back in, and we talked, and I just said, \"I'd like to make a record.\" He stammered, \"Oh, well, yeah. Okay.\" Nick was a man of few words.According to Drake's friend Paul Wheeler, Drake had already decided not to complete his third year at Cambridge and was excited by the contract.\n", "labels": "What is the name of the person that had difficulty connecting with staff and fellow students?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4938f9f96b254516a519cd313cd2f258"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, \"they were the rugger buggers and we were the cool people smoking dope\".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: \"He looked like a star. He looked wonderful, he seemed to be 7 ft [tall].\"\nHutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo recorded in Drake's college room in early 1968, Boyd offered Drake a management, publishing, and production contract. According to Boyd:In those days you didn't have cassettes\u2014he brought a reel-to-reel tape [to me] that he'd done at home. Half way through the first song, I felt this was pretty special. And I called him up, and he came back in, and we talked, and I just said, \"I'd like to make a record.\" He stammered, \"Oh, well, yeah. Okay.\" Nick was a man of few words.According to Drake's friend Paul Wheeler, Drake had already decided not to complete his third year at Cambridge and was excited by the contract.\n", "labels": "What is the name of the person that began performing in local clubs and coffee houses around London?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4938f9f96b254516a519cd313cd2f258"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, \"they were the rugger buggers and we were the cool people smoking dope\".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: \"He looked like a star. He looked wonderful, he seemed to be 7 ft [tall].\"\nHutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo recorded in Drake's college room in early 1968, Boyd offered Drake a management, publishing, and production contract. According to Boyd:In those days you didn't have cassettes\u2014he brought a reel-to-reel tape [to me] that he'd done at home. Half way through the first song, I felt this was pretty special. And I called him up, and he came back in, and we talked, and I just said, \"I'd like to make a record.\" He stammered, \"Oh, well, yeah. Okay.\" Nick was a man of few words.According to Drake's friend Paul Wheeler, Drake had already decided not to complete his third year at Cambridge and was excited by the contract.\n", "labels": "What is the full name of the person that was impressed by Drake's image?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4938f9f96b254516a519cd313cd2f258"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, \"they were the rugger buggers and we were the cool people smoking dope\".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: \"He looked like a star. He looked wonderful, he seemed to be 7 ft [tall].\"\nHutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo recorded in Drake's college room in early 1968, Boyd offered Drake a management, publishing, and production contract. According to Boyd:In those days you didn't have cassettes\u2014he brought a reel-to-reel tape [to me] that he'd done at home. Half way through the first song, I felt this was pretty special. And I called him up, and he came back in, and we talked, and I just said, \"I'd like to make a record.\" He stammered, \"Oh, well, yeah. Okay.\" Nick was a man of few words.According to Drake's friend Paul Wheeler, Drake had already decided not to complete his third year at Cambridge and was excited by the contract.\n", "labels": "What is the name of the person that seemed to be 7 ft [tall]?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4938f9f96b254516a519cd313cd2f258"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, \"they were the rugger buggers and we were the cool people smoking dope\".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: \"He looked like a star. He looked wonderful, he seemed to be 7 ft [tall].\"\nHutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo recorded in Drake's college room in early 1968, Boyd offered Drake a management, publishing, and production contract. According to Boyd:In those days you didn't have cassettes\u2014he brought a reel-to-reel tape [to me] that he'd done at home. Half way through the first song, I felt this was pretty special. And I called him up, and he came back in, and we talked, and I just said, \"I'd like to make a record.\" He stammered, \"Oh, well, yeah. Okay.\" Nick was a man of few words.According to Drake's friend Paul Wheeler, Drake had already decided not to complete his third year at Cambridge and was excited by the contract.\n", "labels": "What is the full name of the person that was a significant and respected figure on the UK folk scene?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4938f9f96b254516a519cd313cd2f258"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Medical researchers Frank and his fianc\u00e9e, Zoe, have developed a serum, code-named \"Lazarus\". It was intended to assist coma patients but is shown to actually be able to bring the dead back to life.\nWith the assistance of their friends, Niko, Clay,  and videographer Eva, they run a successful trial on a recently deceased dog. However, they notice that the dog is behaving differently than it did when it was alive: its cataracts disappear, it loses its appetite, and it demonstrates other strange abilities. Tests reveal that the serum, instead of dissipating, is constructing strange new synapses within the dog's brain.\nWhen the dean of their university learns of their underground experiments, their project is shut down. They are also informed that a major pharmaceutical corporation has bought out the company that funded their research. The company and their attorneys confiscate everything associated with the project.\nFrank and his team sneak back into their lab to duplicate the experiment so that they can prove that they created the serum. During this attempt, things go horribly wrong and Zoe is fatally electrocuted. Unwilling to let her go, Frank uses the serum to resurrect her. Initially, the procedure appears to be a success, but the team soon realizes that something is wrong with Zoe. She claims that when she died, she went to her version of Hell, which was a nightmare originating from her childhood: during a fire in her apartment building, she witnessed trapped neighbors burning to death. She also begins to demonstrate unusual psychic abilities.\n", "labels": "What was the name of the  person that was brought back to life by the serum?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f3655491e9374303aac859da96662ac1"}]
\ No newline at end of file