[{"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 Manhattan Project was a research and development undertaking during World War II that produced the first nuclear weapons. It was led by the United States with the support of the United Kingdom and Canada. From 1942 to 1946, the project was under the direction of Major General Leslie Groves of the U.S. Army Corps of Engineers. Nuclear physicist Robert Oppenheimer was the director of the Los Alamos Laboratory that designed the actual bombs. The Army component of the project was designated the Manhattan District; Manhattan gradually superseded the official codename, Development of Substitute Materials, for the entire project. Along the way, the project absorbed its earlier British counterpart, Tube Alloys. The Manhattan Project began modestly in 1939, but grew to employ more than 130,000 people and cost nearly US$2 billion (about $23 billion in 2018 dollars). Over 90% of the cost was for building factories and to produce fissile material, with less than 10% for development and production of the weapons. Research and production took place at more than 30 sites across the United States, the United Kingdom, and Canada.\nTwo types of atomic bombs were developed concurrently during the war: a relatively simple gun-type fission weapon and a more complex implosion-type nuclear weapon. The Thin Man gun-type design proved impractical to use with plutonium, and therefore a simpler gun-type called Little Boy was developed that used uranium-235, an isotope that makes up only 0.7 percent of natural uranium. Chemically identical to the most common isotope, uranium-238, and with almost the same mass, it proved difficult to separate the two. Three methods were employed for uranium enrichment: electromagnetic, gaseous and thermal. Most of this work was performed at the Clinton Engineer Works at Oak Ridge, Tennessee.\nIn parallel with the work on uranium was an effort to produce plutonium. After the feasibility of the world's first artificial nuclear reactor was demonstrated in Chicago at the Metallurgical Laboratory, it designed the X-10 Graphite Reactor at Oak Ridge and the production reactors in Hanford, Washington, in which uranium was irradiated and transmuted into plutonium. The plutonium was then chemically separated from the uranium, using the bismuth phosphate process. The Fat Man plutonium implosion-type weapon was developed in a concerted design and development effort by the Los Alamos Laboratory.\nThe project was also charged with gathering intelligence on the German nuclear weapon project. Through Operation Alsos, Manhattan Project personnel served in Europe, sometimes behind enemy lines, where they gathered nuclear materials and documents, and rounded up German scientists. Despite the Manhattan Project's tight security, Soviet atomic spies successfully penetrated the program.\n", "labels": "What was chemically identical to the most common isotope, uranium-238?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-56ad596d4e9344b6b2f56d54949d96a2"}, {"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 Manhattan Project was a research and development undertaking during World War II that produced the first nuclear weapons. It was led by the United States with the support of the United Kingdom and Canada. From 1942 to 1946, the project was under the direction of Major General Leslie Groves of the U.S. Army Corps of Engineers. Nuclear physicist Robert Oppenheimer was the director of the Los Alamos Laboratory that designed the actual bombs. The Army component of the project was designated the Manhattan District; Manhattan gradually superseded the official codename, Development of Substitute Materials, for the entire project. Along the way, the project absorbed its earlier British counterpart, Tube Alloys. The Manhattan Project began modestly in 1939, but grew to employ more than 130,000 people and cost nearly US$2 billion (about $23 billion in 2018 dollars). Over 90% of the cost was for building factories and to produce fissile material, with less than 10% for development and production of the weapons. Research and production took place at more than 30 sites across the United States, the United Kingdom, and Canada.\nTwo types of atomic bombs were developed concurrently during the war: a relatively simple gun-type fission weapon and a more complex implosion-type nuclear weapon. The Thin Man gun-type design proved impractical to use with plutonium, and therefore a simpler gun-type called Little Boy was developed that used uranium-235, an isotope that makes up only 0.7 percent of natural uranium. Chemically identical to the most common isotope, uranium-238, and with almost the same mass, it proved difficult to separate the two. Three methods were employed for uranium enrichment: electromagnetic, gaseous and thermal. Most of this work was performed at the Clinton Engineer Works at Oak Ridge, Tennessee.\nIn parallel with the work on uranium was an effort to produce plutonium. After the feasibility of the world's first artificial nuclear reactor was demonstrated in Chicago at the Metallurgical Laboratory, it designed the X-10 Graphite Reactor at Oak Ridge and the production reactors in Hanford, Washington, in which uranium was irradiated and transmuted into plutonium. The plutonium was then chemically separated from the uranium, using the bismuth phosphate process. The Fat Man plutonium implosion-type weapon was developed in a concerted design and development effort by the Los Alamos Laboratory.\nThe project was also charged with gathering intelligence on the German nuclear weapon project. Through Operation Alsos, Manhattan Project personnel served in Europe, sometimes behind enemy lines, where they gathered nuclear materials and documents, and rounded up German scientists. Despite the Manhattan Project's tight security, Soviet atomic spies successfully penetrated the program.\n", "labels": "What work was mostly performed at the Clinton Engineer Works at Oak Ridge, Tennessee?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-56ad596d4e9344b6b2f56d54949d96a2"}, {"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: Sir Francis Drake sailed from Plymouth on 15 November 1577, in command of a fleet of five ships under his flagship Pelican, later renamed the Golden Hinde. His principal objective was plunder, not exploration; his initial targets were the unfortified Spanish towns on the Pacific coasts of Chile and Peru. Following Magellan's route, Drake reached Puerto San Julian on 20 June. After nearly two months in harbour, Drake left the port with a reduced fleet of three ships and a small pinnace. His ships entered the Magellan Strait on 23 August and emerged in the Pacific Ocean on 6 September.Drake set a course to the north-west, but on the following day a gale scattered the ships. The Marigold was sunk by a giant wave; the Elizabeth managed to return into the Magellan Strait, later sailing eastwards back to England; the pinnace was lost later. The gales persisted for more than seven weeks. The Golden Hinde was driven far to the west and south, before clawing its way back towards land. On 22 October, the ship anchored off an island which Drake named \"Elizabeth Island\", where wood for the galley fires was collected and seals and penguins captured for food.According to Drake's Portuguese pilot, Nuno da Silva, their position at the anchorage was 57\u00b0S. However, there is no island at that latitude. The as yet undiscovered Diego Ram\u00edrez Islands, at 56\u00b030'S, are treeless and cannot have been the islands where Drake's crew collected wood. This indicates that the navigational calculation was faulty, and that Drake landed at or near the then unnamed Cape Horn, possibly on Horn Island itself. His final southern latitude can only be speculated as that of Cape Horn, at 55\u00b059'S. In his report, Drake wrote: \"The Uttermost Cape or headland of all these islands stands near 56 degrees, without which there is no main island to be seen to the southwards but that the Atlantic Ocean and the South Sea meet.\" This open sea south of Cape Horn became known as the Drake Passage even though Drake himself did not traverse it.\n", "labels": "What is the first name of the person who left the port with a reduced fleet of three ships and a small pinnace?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-96d5e85a57fc43f2bfb4afec3525a055"}, {"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: By 1911, Winnipeg was Canada's third-largest city. However, the city faced financial difficulty when the Panama Canal opened in 1914. The canal reduced reliance on Canada's rail system for international trade; the increase in shipping traffic helped Vancouver to surpass Winnipeg in both prosperity and population by the end of World War I.\nMore than 30,000 workers walked off their jobs in May 1919 in what came to be known as the Winnipeg general strike. The strike was a product of postwar recession, labour conditions, the activity of union organizers and a large influx of returning World War I soldiers seeking work. After many arrests, deportations, and incidents of violence, the strike ended on 21 June 1919 when the Riot Act was read and a group of Royal Canadian Mounted Police officers charged a group of strikers. Two strikers were killed and at least thirty others were injured on the day that became known as Bloody Saturday; the event polarized the population. One of the leaders of the strike, J. S. Woodsworth, went on to found Canada's first major socialist party, the Co-operative Commonwealth Federation, which later became the New Democratic Party.The Manitoba Legislative Building, constructed mainly of Tyndall stone, opened in 1920; its dome supports a bronze statue finished in gold leaf, titled \"Eternal Youth and the Spirit of Enterprise\" (commonly known as the \"Golden Boy\"). The stock market crash of 1929 and the Great Depression resulted in widespread unemployment, worsened by drought and low agricultural prices. The Depression ended after the start of World War II in 1939.\n", "labels": "What current political party did J.S. Woodsworth find?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6702ee54eff64c759450294161f2ad4e"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the name of the person who gives George the idea to marry the school teacher?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the last name of the person who is seeking entry into the U.S.?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the full name of the person who has to wait eight years for a quota number?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the full name of the person who was living in the Esperanza Hotel?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the last name of the person Anita Dixon explains how she obtained citizenship to?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the full name of the person who is broke and unhappy after six months in the Mexican border town?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the full name of the man who plans to marry for citizenship?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the full name of the person that Georges wants to use to get his citizenship?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the last name of the person who sleeps in the lobby of the hotel?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the last name of the person who tried to woo Emmy in the morning?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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 story opens with Georges Iscovescu recounting his story to a Hollywood film director at Paramount in an effort to earn some quick cash. Georges is a Romanian-born gigolo who has arrived in a Mexican border town seeking entry to the US. He has to endure a waiting period of up to eight years in order to obtain a quota number, living with other hopeful immigrants in the Esperanza Hotel. After six months he is broke and unhappy. When he runs into his former dancing partner Anita Dixon she explains how she quickly obtained US citizenship by marrying an American, who she then, just as quickly, divorced.\nGeorges resolves on the same plan. He soon targets visiting school teacher Miss Emmy Brown, who is in Mexico on a day trip with her class of about fifteen young boys. Georges manages to extend the time necessary to repair her broken down automobile.  Emmy and her pupils sleep in the lobby of the full-up Esperanza Hotel.  This provides Georges the opportunity to quickly and intensively woo Emmy in the early morning hours; she awakens to him sitting nearby and gazing at her lovingly. By claiming she is the exact image of the lost love of his life, his seemingly intense ardor toward a stranger is plausible, and they marry later that same day. However, George must wait some weeks before entering the US, and Emmy returns home with the boys.\n", "labels": "What is the full name of the person that Georges marries?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a5b99487b7484f119f01ee1903df573f"}, {"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: Sire Alain de Maletroit, plots revenge on his younger brother Edmond for stealing Alain's childhood sweetheart, who died giving birth to Edmond's daughter Blanche. Alain secretly imprisons Edmond in his dungeon for 20 years and convinces Blanche that her father is dead.\nAlain intends to further debase Blanche as revenge against Edmond. Alain tricks a high-born drunken cad, Denis de Beaulieu, in to believeing he has murdered a man. Denis escapes a mob by entering the Maletroit chateau by an exterior door which has no latch on the inside. Alain makes Denis a captive intending to force the delicate Blanche into marriage with him.\nAlain goes to the dungeon to torture Edmond with the news Blanche will be married to Denis, an unworthy rogue. After Alain leaves, Edmond asks the family servant Voltan to kill Denis before the wedding. However, Denis shows unanticipated redemptive qualities and he and Blanche fall in love. When Voltan comes to kill Denis, Blanche pleads with Voltan to spare his life and help him escape.\nTheir attempts to escape are foiled by Alain, who then seals Edmond, Blanche and Denis in a stone cell and starts a waterwheel that presses the cell walls inward to crush them to death. Voltan fights Alain and gets the key to the dungeon and pushes Alain into the waterwheel, temporarily stopping the crushing walls. Wounded by the guards, Voltan struggles to the dungeon and, with his dying breath, gets the key to Denis just as the walls start moving in again. Denis, Blanche and her father escape the cell. Denis and Blanche decide to stay together and Edmond has the strange door removed from the chateau.\n", "labels": "Who removes the strange door from the chateau?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f5e2ca2e15dd4d49967d30841998257e"}, {"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: Sire Alain de Maletroit, plots revenge on his younger brother Edmond for stealing Alain's childhood sweetheart, who died giving birth to Edmond's daughter Blanche. Alain secretly imprisons Edmond in his dungeon for 20 years and convinces Blanche that her father is dead.\nAlain intends to further debase Blanche as revenge against Edmond. Alain tricks a high-born drunken cad, Denis de Beaulieu, in to believeing he has murdered a man. Denis escapes a mob by entering the Maletroit chateau by an exterior door which has no latch on the inside. Alain makes Denis a captive intending to force the delicate Blanche into marriage with him.\nAlain goes to the dungeon to torture Edmond with the news Blanche will be married to Denis, an unworthy rogue. After Alain leaves, Edmond asks the family servant Voltan to kill Denis before the wedding. However, Denis shows unanticipated redemptive qualities and he and Blanche fall in love. When Voltan comes to kill Denis, Blanche pleads with Voltan to spare his life and help him escape.\nTheir attempts to escape are foiled by Alain, who then seals Edmond, Blanche and Denis in a stone cell and starts a waterwheel that presses the cell walls inward to crush them to death. Voltan fights Alain and gets the key to the dungeon and pushes Alain into the waterwheel, temporarily stopping the crushing walls. Wounded by the guards, Voltan struggles to the dungeon and, with his dying breath, gets the key to Denis just as the walls start moving in again. Denis, Blanche and her father escape the cell. Denis and Blanche decide to stay together and Edmond has the strange door removed from the chateau.\n", "labels": "Who is the high-born drunken cad going to marry?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f5e2ca2e15dd4d49967d30841998257e"}, {"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: Sire Alain de Maletroit, plots revenge on his younger brother Edmond for stealing Alain's childhood sweetheart, who died giving birth to Edmond's daughter Blanche. Alain secretly imprisons Edmond in his dungeon for 20 years and convinces Blanche that her father is dead.\nAlain intends to further debase Blanche as revenge against Edmond. Alain tricks a high-born drunken cad, Denis de Beaulieu, in to believeing he has murdered a man. Denis escapes a mob by entering the Maletroit chateau by an exterior door which has no latch on the inside. Alain makes Denis a captive intending to force the delicate Blanche into marriage with him.\nAlain goes to the dungeon to torture Edmond with the news Blanche will be married to Denis, an unworthy rogue. After Alain leaves, Edmond asks the family servant Voltan to kill Denis before the wedding. However, Denis shows unanticipated redemptive qualities and he and Blanche fall in love. When Voltan comes to kill Denis, Blanche pleads with Voltan to spare his life and help him escape.\nTheir attempts to escape are foiled by Alain, who then seals Edmond, Blanche and Denis in a stone cell and starts a waterwheel that presses the cell walls inward to crush them to death. Voltan fights Alain and gets the key to the dungeon and pushes Alain into the waterwheel, temporarily stopping the crushing walls. Wounded by the guards, Voltan struggles to the dungeon and, with his dying breath, gets the key to Denis just as the walls start moving in again. Denis, Blanche and her father escape the cell. Denis and Blanche decide to stay together and Edmond has the strange door removed from the chateau.\n", "labels": "Who asks the family servant to kill the high-born drunken cad?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f5e2ca2e15dd4d49967d30841998257e"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What is the full name of the person who was in the band Forbidden?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What two bands were Bostaph a member of?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What is the last name of the person who walked towards music he heard from another room at a party?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What is the first name of the person who told Paul what music was playing?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What are the full names of the two people who were in the band Forbidden?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What is the first name of the person who concluded his band was fucked?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Reign in Blood is regarded by critics as one of the most influential and extreme thrash metal albums. In its \"Greatest Metal Bands Of All Time\" poll, MTV praised Slayer's \"downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork,\" which they stated \"set the standard for dozens of emerging thrash bands,\" while \"Slayer's music was directly responsible for the rise of death metal.\" MTV described Reign in Blood as essential listening, and the album was ranked number 7 on IGN's \"Top 25 Most Influential Metal Albums\".\nAsked during a press tour for 1994's Divine Intervention about the pressure of living up to Reign in Blood, King replied that the band did not try to better it, but just wanted to make music. In 2006, Blabbermouth's Don Kaye drew a comparison to the band's 2006 album Christ Illusion, and concluded, \"Slayer may never make an album as incendiary as Reign in Blood again.\"Rapper Necro was heavily influenced by the album, and has remarked that it takes him back to the 1980s, \"when shit was pure\". Ektomorf vocalist Zolt\u00e1n Farkas describes the album as one of his primary influences. Paul Mazurkiewicz of Cannibal Corpse stated Lombardo's performance on the album helped him play faster throughout his career.\nKelly Shaefer of Atheist said: \"When Reign in Blood came out it changed everything! That is easily the best extreme metal record ever!\"Hanneman said that the album was his personal favorite, reasoning it was \"so short and quick and to the point\". Araya has remarked that Slayer's 2006 album Christ Illusion \"comes close\", but that \"nothing can surpass Reign in Blood for intensity and impact. No one had heard anything like it before. In the twenty years since then, people have got more desensitized. What was over the top then might not be now.\"Paul Bostaph \u2013 Slayer's drummer from 1992 to 2001, and 2013\u2013present \u2013 first heard the record while a member of Forbidden. At a party, he walked towards music he heard from another room, and approached Forbidden guitarist Craig Locicero. Asked what was playing, Locicero shouted, \"The new Slayer record.\" After listening closely, Bostaph looked at Locicero, and concluded his band was \"fucked\".Oderus Urungus of Gwar cited 'Altar of Sacrifice' as his favourite Slayer song: \"It's the one I would always play for my friends when I was getting into Slayer. They would get this glazed look in their eyes and worship the speakers while doing the devil-horn thing.\"In 2006, the album won a Metal Hammer award for Best Album of the Last 20 Years.In 2016, Loudwire ranked Reign in Blood #1 among Slayer's eleven studio albums.\n", "labels": "What band did Paul Bostaph conclude was \"fucked?\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2cef69c94b64b568b01d6b6a556c310"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who died from cancer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person whose death at the height of her fame and was a shock to the musical world?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who did not take up singing seriously until 1937?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who began to receive offers of professional engagements as a vocalist?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who took singing lessons with Roy Henderson?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person whose career was boosted when she met the conductor Malcolm Sargent?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who became a regular performer at leading London and provincial venues?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who took singing lessons?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the first name of the person whose career was boosted when she met a conductor ?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the first name of the person who was recommended her to the influential Ibbs and Tillett concert management agency?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Kathleen Mary Ferrier, CBE (22 April 1912 \u2013 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.\nThe daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.\nIn 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.\nFerrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.\n", "labels": "What is the last name of the person who made numerous BBC radio broadcasts?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-860dc5d783944ab788fa742feb99aaa3"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is the first name of the person whose sound, according to Considine, isn't defined by her voice so much as by the way her voice is framed by the propulsive production of Jam and Lewis?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is first name of the person who gave Prince's Minneapolis sound a distinctly feminine spin?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is the last name of the person who, alongside Jam and Lewis, crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is last name of the person who has often been credited for redefining the standard of popular music with the industrial-strength beats of the album?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is the last name of the person who is considered a trendsetter in pop balladry?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is the last of the person who is described as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is the last name of the person whose \"art, also like Marvin's, floated over a reservoir of secret pain,\" according to Ritz?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Music critic J. D. Considine noted \"on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis.\" Wendy Robinson of PopMatters said \"the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to.\"Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess \"a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks.\" Perpetus added: \"Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities.\"Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she \"gave Prince's Minneapolis sound a distinctly feminine\u2014and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist\u2014spin.\"On Control, Richard J. Ripani documented that she, Jam and Lewis had \"crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.\" Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating \"the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram.\"Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as \"an artist who has reshaped the sound and image of rhythm and blues\" within the first decade of her career. Critic Karla Peterson remarked that \"she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves\u2014an ace pop-song writer.\" Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments \"except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns.\"Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, \"like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain.\" Much of her success has been attributed to \"a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge.\" Ritz also stated, \"The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear.\"During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as \"an autobiographical tale about her life with her parents, her first marriage, and breaking free.\" Jessie Carney Smith wrote \"with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity.\" Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote \"It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people.\"On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade \"brand[ed] her as one of the most sexually stimulating vocalists of the 1990s.\" Lilly J. Goren observed \"Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue.\" The Washington Post declared Jackson's public image over the course of her career had shifted \"from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds\u2014figuratively and literally\u2014of love and lust.\"The song \"Free Xone\" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as \"a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics.\" During promotion for Janet, she stated \"I love feeling deeply sexual\u2014and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.\"Upon the release of Damita Jo, Jackon stated \"Beginning with the earlier albums, exploring\u2014and liberating\u2014my sexuality has been an ongoing discovery and theme,\" adding \"As an artist, that's not only my passion, it's my obligation.\" Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating \"while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music\u2014as with anything, it all depends on the artist.\".\n", "labels": "What is the first of the person who, according to Smith, \"challenged audiences to see her as a transformed person, from an ing\u00e9nue to a grow-up, multi-talented celebrity\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e40b189b1f954d55947904b87c9354d6"}, {"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: Shackleton's first task, on arriving at the Stromness station, was to arrange for his three companions at Peggoty Camp to be picked up. A whaler was sent round the coast, with Worsley aboard to show the way, and by the evening of 21 May all six of the James Caird party were safe.It took four attempts before Shackleton was able to return to Elephant Island to rescue the party stranded there. He first left South Georgia a mere three days after he had arrived in Stromness, after securing the use of a large whaler, The Southern Sky, which was laid up in Husvik Harbour. Shackleton assembled a volunteer crew, which had it ready to sail by the morning of 22 May. As the vessel approached Elephant Island they saw that an impenetrable barrier of pack ice had formed, some 70 miles (110 km) from their destination. The Southern Sky was not built for ice breaking, and retreated to Port Stanley in the Falkland Islands.On reaching Port Stanley, Shackleton informed London by cable of his whereabouts, and requested that a suitable vessel be sent south for the rescue operation. He was informed by the Admiralty that nothing was available before October, which in his view was too late. Then, with the help of the British Minister in Montevideo, Shackleton obtained from the Uruguayan government the loan of a tough trawler, Instituto de Pesca No. 1, which started south on 10 June. Again the pack thwarted them. In search of another ship, Shackleton, Worsley and Crean travelled to Punta Arenas, where they met Allan MacDonald, the British owner of the schooner Emma. McDonald equipped this vessel for a further rescue attempt, which left on 12 July, but with the same negative result\u2014the pack defeated them yet again. Shackleton later named a glacier after McDonald on the Brunt Ice Shelf in the Weddell Sea. After problems arose in identifying this glacier, a nearby ice rise was renamed the McDonald Ice Rumples.By now it was mid-August, more than three months since Shackleton had left Elephant Island. Shackleton begged the Chilean Government to lend him Yelcho, a small steam tug that had assisted Emma during the previous attempt. They agreed; on 25 August, Yelcho\u2014captained by Luis Pardo\u2013set out for Elephant Island. This time, as Shackleton records, providence favoured them. The seas were open, and the ship was able to approach close to the island, in thick fog. At 11:40 a.m. on 30 August, the fog lifted, the camp was spotted and, within an hour, all the Elephant Island party were safely aboard, bound for Punta Arenas.\n", "labels": "What vessel did MacDonald equip for a further rescue attempt?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-455448ef08b145eebb56065641dc89f7"}, {"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: Shackleton's first task, on arriving at the Stromness station, was to arrange for his three companions at Peggoty Camp to be picked up. A whaler was sent round the coast, with Worsley aboard to show the way, and by the evening of 21 May all six of the James Caird party were safe.It took four attempts before Shackleton was able to return to Elephant Island to rescue the party stranded there. He first left South Georgia a mere three days after he had arrived in Stromness, after securing the use of a large whaler, The Southern Sky, which was laid up in Husvik Harbour. Shackleton assembled a volunteer crew, which had it ready to sail by the morning of 22 May. As the vessel approached Elephant Island they saw that an impenetrable barrier of pack ice had formed, some 70 miles (110 km) from their destination. The Southern Sky was not built for ice breaking, and retreated to Port Stanley in the Falkland Islands.On reaching Port Stanley, Shackleton informed London by cable of his whereabouts, and requested that a suitable vessel be sent south for the rescue operation. He was informed by the Admiralty that nothing was available before October, which in his view was too late. Then, with the help of the British Minister in Montevideo, Shackleton obtained from the Uruguayan government the loan of a tough trawler, Instituto de Pesca No. 1, which started south on 10 June. Again the pack thwarted them. In search of another ship, Shackleton, Worsley and Crean travelled to Punta Arenas, where they met Allan MacDonald, the British owner of the schooner Emma. McDonald equipped this vessel for a further rescue attempt, which left on 12 July, but with the same negative result\u2014the pack defeated them yet again. Shackleton later named a glacier after McDonald on the Brunt Ice Shelf in the Weddell Sea. After problems arose in identifying this glacier, a nearby ice rise was renamed the McDonald Ice Rumples.By now it was mid-August, more than three months since Shackleton had left Elephant Island. Shackleton begged the Chilean Government to lend him Yelcho, a small steam tug that had assisted Emma during the previous attempt. They agreed; on 25 August, Yelcho\u2014captained by Luis Pardo\u2013set out for Elephant Island. This time, as Shackleton records, providence favoured them. The seas were open, and the ship was able to approach close to the island, in thick fog. At 11:40 a.m. on 30 August, the fog lifted, the camp was spotted and, within an hour, all the Elephant Island party were safely aboard, bound for Punta Arenas.\n", "labels": "What is the first name of the person Shackleton named a glacier after?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-455448ef08b145eebb56065641dc89f7"}, {"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: Shackleton's first task, on arriving at the Stromness station, was to arrange for his three companions at Peggoty Camp to be picked up. A whaler was sent round the coast, with Worsley aboard to show the way, and by the evening of 21 May all six of the James Caird party were safe.It took four attempts before Shackleton was able to return to Elephant Island to rescue the party stranded there. He first left South Georgia a mere three days after he had arrived in Stromness, after securing the use of a large whaler, The Southern Sky, which was laid up in Husvik Harbour. Shackleton assembled a volunteer crew, which had it ready to sail by the morning of 22 May. As the vessel approached Elephant Island they saw that an impenetrable barrier of pack ice had formed, some 70 miles (110 km) from their destination. The Southern Sky was not built for ice breaking, and retreated to Port Stanley in the Falkland Islands.On reaching Port Stanley, Shackleton informed London by cable of his whereabouts, and requested that a suitable vessel be sent south for the rescue operation. He was informed by the Admiralty that nothing was available before October, which in his view was too late. Then, with the help of the British Minister in Montevideo, Shackleton obtained from the Uruguayan government the loan of a tough trawler, Instituto de Pesca No. 1, which started south on 10 June. Again the pack thwarted them. In search of another ship, Shackleton, Worsley and Crean travelled to Punta Arenas, where they met Allan MacDonald, the British owner of the schooner Emma. McDonald equipped this vessel for a further rescue attempt, which left on 12 July, but with the same negative result\u2014the pack defeated them yet again. Shackleton later named a glacier after McDonald on the Brunt Ice Shelf in the Weddell Sea. After problems arose in identifying this glacier, a nearby ice rise was renamed the McDonald Ice Rumples.By now it was mid-August, more than three months since Shackleton had left Elephant Island. Shackleton begged the Chilean Government to lend him Yelcho, a small steam tug that had assisted Emma during the previous attempt. They agreed; on 25 August, Yelcho\u2014captained by Luis Pardo\u2013set out for Elephant Island. This time, as Shackleton records, providence favoured them. The seas were open, and the ship was able to approach close to the island, in thick fog. At 11:40 a.m. on 30 August, the fog lifted, the camp was spotted and, within an hour, all the Elephant Island party were safely aboard, bound for Punta Arenas.\n", "labels": "What is the first name of the person the McDonald Ice Rumples is named after?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-455448ef08b145eebb56065641dc89f7"}, {"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: Shackleton's first task, on arriving at the Stromness station, was to arrange for his three companions at Peggoty Camp to be picked up. A whaler was sent round the coast, with Worsley aboard to show the way, and by the evening of 21 May all six of the James Caird party were safe.It took four attempts before Shackleton was able to return to Elephant Island to rescue the party stranded there. He first left South Georgia a mere three days after he had arrived in Stromness, after securing the use of a large whaler, The Southern Sky, which was laid up in Husvik Harbour. Shackleton assembled a volunteer crew, which had it ready to sail by the morning of 22 May. As the vessel approached Elephant Island they saw that an impenetrable barrier of pack ice had formed, some 70 miles (110 km) from their destination. The Southern Sky was not built for ice breaking, and retreated to Port Stanley in the Falkland Islands.On reaching Port Stanley, Shackleton informed London by cable of his whereabouts, and requested that a suitable vessel be sent south for the rescue operation. He was informed by the Admiralty that nothing was available before October, which in his view was too late. Then, with the help of the British Minister in Montevideo, Shackleton obtained from the Uruguayan government the loan of a tough trawler, Instituto de Pesca No. 1, which started south on 10 June. Again the pack thwarted them. In search of another ship, Shackleton, Worsley and Crean travelled to Punta Arenas, where they met Allan MacDonald, the British owner of the schooner Emma. McDonald equipped this vessel for a further rescue attempt, which left on 12 July, but with the same negative result\u2014the pack defeated them yet again. Shackleton later named a glacier after McDonald on the Brunt Ice Shelf in the Weddell Sea. After problems arose in identifying this glacier, a nearby ice rise was renamed the McDonald Ice Rumples.By now it was mid-August, more than three months since Shackleton had left Elephant Island. Shackleton begged the Chilean Government to lend him Yelcho, a small steam tug that had assisted Emma during the previous attempt. They agreed; on 25 August, Yelcho\u2014captained by Luis Pardo\u2013set out for Elephant Island. This time, as Shackleton records, providence favoured them. The seas were open, and the ship was able to approach close to the island, in thick fog. At 11:40 a.m. on 30 August, the fog lifted, the camp was spotted and, within an hour, all the Elephant Island party were safely aboard, bound for Punta Arenas.\n", "labels": "What is the name of the vessel that picked up the the James Caird party?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-455448ef08b145eebb56065641dc89f7"}, {"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: A group of puppies are stolen from a pet store by two thieves. A St. Bernard puppy escapes and sneaks into the Newton family's home. The workaholic father, George Newton, doesn't want the responsibility of owning a dog, but his wife, Alice, and their children, Ryce, Ted, and Emily, convince him. They give him the name \"Beethoven\" when Emily plays a portion of Ludwig van Beethoven's Fifth Symphony on the piano and the dog barks along to it.\nBeethoven grows into an extremely fat adult dog and helps the children overcome their problems: he helps Ryce talk to her crush, scares off bullies for Ted, and saves Emily's life when she falls into an irresponsible babysitter's swimming pool. George, jealous of the affection Beethoven receives, feels neglected as his family fawns over him. His antics ruin a barbecue he is hosting for Brad and Brie, rude, unpleasant venture capitalists looking to invest in and secretly swindle him out of his car freshener firm.\nThe Newtons take Beethoven to a veterinarian, Dr. Herman Varnick, for a routine medical examination and immunizations. They are unaware that he is involved in unethical and deadly animal experimentation. He speaks to George and tells him of a supposed mental instability among St. Bernards making them potentially dangerous to humans and advises him to watch Beethoven closely for any sign of viciousness. He actually requires large-skulled dogs such as St. Bernards for an ammunition test.\n", "labels": "Who saves the life of the girl that falls into the swimming pool?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9a62166869074e079706b01f6988435d"}, {"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: Danielle, a rich, elderly woman, accompanied by her nephew, Luke, goes to a beauty parlor to get her hair done. While she is there, she begins to struggle breathing, due to two-thirds of her lungs being missing. When Danielle's beauty girl, Kassia Lancaster, sees this, she calls Danielle's other nephew, Wylie, who is with a girl when she comes to pick him up. Kassia takes Wylie to her parlor and explains that after she saw Danielle, or Danny as Wylie calls her, collapse, she got the idea to kill Aunt Danny by shutting off the oxygen supply in the oxygen tent she uses every night. Wylie agrees to do it, and then he hears a cat, which he is deathly afraid of after one attacked him when he was a child. Suddenly, Kassia sees an orange cat and tries to stop it, but it jumps onto Wylie, who throws it into a machine, electrocuting the cat.\nThe next day, Wylie goes to see Aunt Danny, but leaves her room when he sees cats everywhere. He then talks to his brother, Luke, who has been caring for Aunt Danny, despite the fact that she hates him. Luke thinks that Wylie is there so that he can get Aunt Danny's inheritance when she dies, but Wylie just brushes it off. Wylie gets angry at Kassia for sending him to a house full of cats, but she says that she didn't know about them. Wylie forgives her, and the two sleep together. Luke finds out that Aunt Danny is going to leave all of her money to her cats, which shocks Wylie, and he convinces Danny to make him her heir and to get rid of the cats, which Luke does by luring them into a car with a bowl of meat. Later, Danny overhears Wylie talking to Kassia about her murder, but when she confronts Wylie he plays it off as a joke. Meanwhile, the cats begin to return.\n", "labels": "What is the full name of the character who sleeps with Wylie?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-efb83c91b5f74457bfac2e400c783b33"}, {"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: Danielle, a rich, elderly woman, accompanied by her nephew, Luke, goes to a beauty parlor to get her hair done. While she is there, she begins to struggle breathing, due to two-thirds of her lungs being missing. When Danielle's beauty girl, Kassia Lancaster, sees this, she calls Danielle's other nephew, Wylie, who is with a girl when she comes to pick him up. Kassia takes Wylie to her parlor and explains that after she saw Danielle, or Danny as Wylie calls her, collapse, she got the idea to kill Aunt Danny by shutting off the oxygen supply in the oxygen tent she uses every night. Wylie agrees to do it, and then he hears a cat, which he is deathly afraid of after one attacked him when he was a child. Suddenly, Kassia sees an orange cat and tries to stop it, but it jumps onto Wylie, who throws it into a machine, electrocuting the cat.\nThe next day, Wylie goes to see Aunt Danny, but leaves her room when he sees cats everywhere. He then talks to his brother, Luke, who has been caring for Aunt Danny, despite the fact that she hates him. Luke thinks that Wylie is there so that he can get Aunt Danny's inheritance when she dies, but Wylie just brushes it off. Wylie gets angry at Kassia for sending him to a house full of cats, but she says that she didn't know about them. Wylie forgives her, and the two sleep together. Luke finds out that Aunt Danny is going to leave all of her money to her cats, which shocks Wylie, and he convinces Danny to make him her heir and to get rid of the cats, which Luke does by luring them into a car with a bowl of meat. Later, Danny overhears Wylie talking to Kassia about her murder, but when she confronts Wylie he plays it off as a joke. Meanwhile, the cats begin to return.\n", "labels": "What are the names of Danielle's two nephews?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-efb83c91b5f74457bfac2e400c783b33"}, {"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: Danielle, a rich, elderly woman, accompanied by her nephew, Luke, goes to a beauty parlor to get her hair done. While she is there, she begins to struggle breathing, due to two-thirds of her lungs being missing. When Danielle's beauty girl, Kassia Lancaster, sees this, she calls Danielle's other nephew, Wylie, who is with a girl when she comes to pick him up. Kassia takes Wylie to her parlor and explains that after she saw Danielle, or Danny as Wylie calls her, collapse, she got the idea to kill Aunt Danny by shutting off the oxygen supply in the oxygen tent she uses every night. Wylie agrees to do it, and then he hears a cat, which he is deathly afraid of after one attacked him when he was a child. Suddenly, Kassia sees an orange cat and tries to stop it, but it jumps onto Wylie, who throws it into a machine, electrocuting the cat.\nThe next day, Wylie goes to see Aunt Danny, but leaves her room when he sees cats everywhere. He then talks to his brother, Luke, who has been caring for Aunt Danny, despite the fact that she hates him. Luke thinks that Wylie is there so that he can get Aunt Danny's inheritance when she dies, but Wylie just brushes it off. Wylie gets angry at Kassia for sending him to a house full of cats, but she says that she didn't know about them. Wylie forgives her, and the two sleep together. Luke finds out that Aunt Danny is going to leave all of her money to her cats, which shocks Wylie, and he convinces Danny to make him her heir and to get rid of the cats, which Luke does by luring them into a car with a bowl of meat. Later, Danny overhears Wylie talking to Kassia about her murder, but when she confronts Wylie he plays it off as a joke. Meanwhile, the cats begin to return.\n", "labels": "Whose brother cares for Danielle?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-efb83c91b5f74457bfac2e400c783b33"}, {"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: Dean and Knapp record that in early 1707 Keiser surrendered the lease of the G\u00e4nsemarkt to Johann Heinrich Sauerbrey, who thus became responsible for the staging of the double opera. It may by this time have been in rehearsal, and the difficulties involved in such a complex and elaborate work may have necessitated several postponements. The consensus among experts is that the two parts were first performed on consecutive evenings in January 1708, as they are the first works in Mattheson's opera list for 1708. There are no surviving records of the public's reception, the length of the original run, or of any revivals. Whether Handel was present at any time during rehearsals or performance is uncertain; he may have returned from Italy, fresh from the opening of Rodrigo in Florence, to supervise the production of Florindo and Daphne in Hamburg. Dean and Knapp suggest the works may have been directed from the harpsichord by Christoph Graupner, although Anthony Hicks in his Grove Handel biography, says that so unusual a project would not have been attempted without the composer's presence.The theatre's management was clearly concerned that the public might find the double opera too heavy in undiluted form. Accordingly, a comic intermezzo in Low German dialect (platte-deutsch) was devised by Sauerbrey to precede the performance of Daphne. The critic and essayist Romain Rolland, in his life of Handel, termed this a \"mutilation\", carried out \"for fear that the music may tire the hearers\".\n", "labels": "What is the name of the composer without whose presence, according to Anthony Hicks, so unusual a project would not have been attempted?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-0cf96d4d613846dcae6b18d48dee3bf6"}, {"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: Ashton Pelham-Martyn is the son of a British botanist travelling through India, who is born on the road shortly before the Sepoy uprising of 1857. His mother dies from childbed fever shortly after his birth and his father dies of cholera a few years later. He is entrusted to his Hindu ayah (nanny) Sita to be brought to his English relatives in the city of Mardan. After discovering that all English feringhis have been killed during the uprising, Sita adopts the dark-skinned Ash and takes him in search of safety.\nThey eventually find refuge in the kingdom of Gulkote where Ashton, now going by the name Ashok, forgets his English parentage and grows up as a native Indian boy. While working as a servant for Lalji, the young yuveraj (crown prince) of Gulkote, Ashton befriends the neglected princess Anjuli, in addition to the master of stables, Koda Dad, and his son Zarin. At the age of 11, Ashton uncovers a murderous conspiracy against Lalji and learns he himself will be killed for interfering with the plot. Promising Anjuli he will return for her one-day, he and Sita escape the palace with assistance from friends Sita and Ashok have made within the palace over the years, and flee from Gulkote. The ailing Sita dies en route, but not before revealing to Ash his true parentage and entrusting him with the letters and money his father gave her before his death.\nAshok makes his way to the military division Sita instructed him about, and they recognise him; now known by his English name, Ashton is turned over to English authorities and sent to England for a formal education and military training. At age 19, Ashton returns to India as an officer in the Corps of Guides with Zarin on the Northern Frontier. He quickly finds that his sense of place is torn between his new-found status as Ashton, an English \"sahib\", and Ashok, the native Indian boy he once believed he was.\n", "labels": "How does the British botanist's lover die?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5997f03b3f774a288e6a70efde1b7b65"}, {"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: Ashton Pelham-Martyn is the son of a British botanist travelling through India, who is born on the road shortly before the Sepoy uprising of 1857. His mother dies from childbed fever shortly after his birth and his father dies of cholera a few years later. He is entrusted to his Hindu ayah (nanny) Sita to be brought to his English relatives in the city of Mardan. After discovering that all English feringhis have been killed during the uprising, Sita adopts the dark-skinned Ash and takes him in search of safety.\nThey eventually find refuge in the kingdom of Gulkote where Ashton, now going by the name Ashok, forgets his English parentage and grows up as a native Indian boy. While working as a servant for Lalji, the young yuveraj (crown prince) of Gulkote, Ashton befriends the neglected princess Anjuli, in addition to the master of stables, Koda Dad, and his son Zarin. At the age of 11, Ashton uncovers a murderous conspiracy against Lalji and learns he himself will be killed for interfering with the plot. Promising Anjuli he will return for her one-day, he and Sita escape the palace with assistance from friends Sita and Ashok have made within the palace over the years, and flee from Gulkote. The ailing Sita dies en route, but not before revealing to Ash his true parentage and entrusting him with the letters and money his father gave her before his death.\nAshok makes his way to the military division Sita instructed him about, and they recognise him; now known by his English name, Ashton is turned over to English authorities and sent to England for a formal education and military training. At age 19, Ashton returns to India as an officer in the Corps of Guides with Zarin on the Northern Frontier. He quickly finds that his sense of place is torn between his new-found status as Ashton, an English \"sahib\", and Ashok, the native Indian boy he once believed he was.\n", "labels": "What title does the girl Ashton promises to return for hold in Gulkote?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5997f03b3f774a288e6a70efde1b7b65"}, {"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: Ashton Pelham-Martyn is the son of a British botanist travelling through India, who is born on the road shortly before the Sepoy uprising of 1857. His mother dies from childbed fever shortly after his birth and his father dies of cholera a few years later. He is entrusted to his Hindu ayah (nanny) Sita to be brought to his English relatives in the city of Mardan. After discovering that all English feringhis have been killed during the uprising, Sita adopts the dark-skinned Ash and takes him in search of safety.\nThey eventually find refuge in the kingdom of Gulkote where Ashton, now going by the name Ashok, forgets his English parentage and grows up as a native Indian boy. While working as a servant for Lalji, the young yuveraj (crown prince) of Gulkote, Ashton befriends the neglected princess Anjuli, in addition to the master of stables, Koda Dad, and his son Zarin. At the age of 11, Ashton uncovers a murderous conspiracy against Lalji and learns he himself will be killed for interfering with the plot. Promising Anjuli he will return for her one-day, he and Sita escape the palace with assistance from friends Sita and Ashok have made within the palace over the years, and flee from Gulkote. The ailing Sita dies en route, but not before revealing to Ash his true parentage and entrusting him with the letters and money his father gave her before his death.\nAshok makes his way to the military division Sita instructed him about, and they recognise him; now known by his English name, Ashton is turned over to English authorities and sent to England for a formal education and military training. At age 19, Ashton returns to India as an officer in the Corps of Guides with Zarin on the Northern Frontier. He quickly finds that his sense of place is torn between his new-found status as Ashton, an English \"sahib\", and Ashok, the native Indian boy he once believed he was.\n", "labels": "What name does the British botanist's son go by in Gulkote?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5997f03b3f774a288e6a70efde1b7b65"}, {"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: Ashton Pelham-Martyn is the son of a British botanist travelling through India, who is born on the road shortly before the Sepoy uprising of 1857. His mother dies from childbed fever shortly after his birth and his father dies of cholera a few years later. He is entrusted to his Hindu ayah (nanny) Sita to be brought to his English relatives in the city of Mardan. After discovering that all English feringhis have been killed during the uprising, Sita adopts the dark-skinned Ash and takes him in search of safety.\nThey eventually find refuge in the kingdom of Gulkote where Ashton, now going by the name Ashok, forgets his English parentage and grows up as a native Indian boy. While working as a servant for Lalji, the young yuveraj (crown prince) of Gulkote, Ashton befriends the neglected princess Anjuli, in addition to the master of stables, Koda Dad, and his son Zarin. At the age of 11, Ashton uncovers a murderous conspiracy against Lalji and learns he himself will be killed for interfering with the plot. Promising Anjuli he will return for her one-day, he and Sita escape the palace with assistance from friends Sita and Ashok have made within the palace over the years, and flee from Gulkote. The ailing Sita dies en route, but not before revealing to Ash his true parentage and entrusting him with the letters and money his father gave her before his death.\nAshok makes his way to the military division Sita instructed him about, and they recognise him; now known by his English name, Ashton is turned over to English authorities and sent to England for a formal education and military training. At age 19, Ashton returns to India as an officer in the Corps of Guides with Zarin on the Northern Frontier. He quickly finds that his sense of place is torn between his new-found status as Ashton, an English \"sahib\", and Ashok, the native Indian boy he once believed he was.\n", "labels": "Where does the ayah raise the botanist's son?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5997f03b3f774a288e6a70efde1b7b65"}, {"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: Ashton Pelham-Martyn is the son of a British botanist travelling through India, who is born on the road shortly before the Sepoy uprising of 1857. His mother dies from childbed fever shortly after his birth and his father dies of cholera a few years later. He is entrusted to his Hindu ayah (nanny) Sita to be brought to his English relatives in the city of Mardan. After discovering that all English feringhis have been killed during the uprising, Sita adopts the dark-skinned Ash and takes him in search of safety.\nThey eventually find refuge in the kingdom of Gulkote where Ashton, now going by the name Ashok, forgets his English parentage and grows up as a native Indian boy. While working as a servant for Lalji, the young yuveraj (crown prince) of Gulkote, Ashton befriends the neglected princess Anjuli, in addition to the master of stables, Koda Dad, and his son Zarin. At the age of 11, Ashton uncovers a murderous conspiracy against Lalji and learns he himself will be killed for interfering with the plot. Promising Anjuli he will return for her one-day, he and Sita escape the palace with assistance from friends Sita and Ashok have made within the palace over the years, and flee from Gulkote. The ailing Sita dies en route, but not before revealing to Ash his true parentage and entrusting him with the letters and money his father gave her before his death.\nAshok makes his way to the military division Sita instructed him about, and they recognise him; now known by his English name, Ashton is turned over to English authorities and sent to England for a formal education and military training. At age 19, Ashton returns to India as an officer in the Corps of Guides with Zarin on the Northern Frontier. He quickly finds that his sense of place is torn between his new-found status as Ashton, an English \"sahib\", and Ashok, the native Indian boy he once believed he was.\n", "labels": "What is the title of the person Ashok promises to return for?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5997f03b3f774a288e6a70efde1b7b65"}, {"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: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler \u2013 now promoted to the rank of colonel \u2013 as Commanding Officer. Given the nickname of \"Flash Alf\" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as \"that whiskered baboon\". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery.\n", "labels": "What is the last name of the person who was was recognized by colleagues as a ruthless disciplinarian?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e379a0e887284f75ac051d489cf13de7"}, {"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: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler \u2013 now promoted to the rank of colonel \u2013 as Commanding Officer. Given the nickname of \"Flash Alf\" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as \"that whiskered baboon\". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery.\n", "labels": "What is the alias of the person who recruited his son?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e379a0e887284f75ac051d489cf13de7"}, {"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: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler \u2013 now promoted to the rank of colonel \u2013 as Commanding Officer. Given the nickname of \"Flash Alf\" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as \"that whiskered baboon\". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery.\n", "labels": "What is the last name of the person who was appointed secretary of the Society of Antiquaries in 1939?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e379a0e887284f75ac051d489cf13de7"}, {"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: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler \u2013 now promoted to the rank of colonel \u2013 as Commanding Officer. Given the nickname of \"Flash Alf\" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as \"that whiskered baboon\". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery.\n", "labels": "What is the last name of the person who was appointed director of the Society of Antiquaries in 1940?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e379a0e887284f75ac051d489cf13de7"}, {"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: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler \u2013 now promoted to the rank of colonel \u2013 as Commanding Officer. Given the nickname of \"Flash Alf\" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as \"that whiskered baboon\". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery.\n", "labels": "What is the last name of the person who initiated divorce proceedings that were finalized in March 1942?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e379a0e887284f75ac051d489cf13de7"}, {"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: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler \u2013 now promoted to the rank of colonel \u2013 as Commanding Officer. Given the nickname of \"Flash Alf\" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as \"that whiskered baboon\". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery.\n", "labels": "What is the first name of the person Wheeler divorced?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e379a0e887284f75ac051d489cf13de7"}, {"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: Kyle and Peter Reynolds are fraternal twins who were raised by their mother Helen as their father died before they were born. Kyle is dating his pregnant girlfriend Kaylani and is wealthy from royalties for his image on BBQ sauce labels. Peter is a divorced proctologist with a teenage son who resents him.\nShortly after Helen's wedding to Gene, Peter recognizes an actor on Law and Order: SVU from photos of his supposed father and confronts Helen. Helen explains that she had been promiscuous at the time of their conception, and did not want their father involved. When they keep pressing, Helen reveals that their father is Terry Bradshaw.\nThe brothers fly to Florida to meet Bradshaw, who they encounter at a signing event. Bradshaw is excited to have them as sons. As Bradshaw recounts stories with former teammate Rod Hamilton, the brothers realize that Bradshaw had been in Australia at the time of their conception, and thus isn't their father. Bradshaw points out that Roland Hunt, a New York investor, also dated Helen.\n", "labels": "What do the twins believe about their father that they later find out is not true?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c6102db98a8d4879b61f19165fc7bf9f"}, {"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: Palmyra began as a small settlement near the Efqa spring on the southern bank of Wadi al-Qubur. The settlement, known as the Hellenistic settlement, had residences expanding to the wadi's northern bank during the first century. Although the city's walls originally enclosed an extensive area on both banks of the wadi, the walls rebuilt during Aurelian's reign surrounded only the northern-bank section. Most of the city's monumental projects were built on the wadi's northern bank, among them is the Temple of Bel, on a tell which was the site of an earlier temple (known as the Hellenistic temple). However, excavation supports the theory that the tell was originally located on the southern bank, and the wadi was diverted south of the tell to incorporate the temple into Palmyra's late first and early second century urban organization on the north bank.Also north of the wadi was the Great Colonnade, Palmyra's 1.1-kilometre-long (0.68 mi) main street, which extended from the Temple of Bel in the east, to the Funerary Temple no.86 in the city's western part. It had a monumental arch in its eastern section, and a tetrapylon stands in the center. The Baths of Diocletian, built on the ruins of an earlier building which might have been the royal palace, were on the left side of the colonnade. Nearby were residences, the Temple of Baalshamin, and the Byzantine churches, which include \"Basilica IV\", Palmyra's largest church. The church is dated to the Justinian age, its columns are estimated to be 7 metres (23 ft) high, and its base measured 27.5 by 47.5 metres (90 by 156 ft).The Temple of Nabu and the Roman theater were built on the colonnade's southern side. Behind the theater were a small senate building and the large Agora, with the remains of a triclinium (banquet room) and the Tariff Court. A cross street at the western end of the colonnade leads to the Camp of Diocletian, built by Sosianus Hierocles (the Roman governor of Syria). Nearby are the Temple of Al-l\u0101t and the Damascus Gate.\n", "labels": "What had a monumental arch in its eastern section, and a tetraylon stands in the center?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-18b0bae06b89492a955168106440414c"}, {"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: Prose works in Sanskrit was prolific during this era as well. Important mathematical theories and axioms were postulated by Mahaviracharya, a native of Gulbarga, who belonged to the Karnataka mathematical tradition and was patronised by King Amoghavarsha I. His greatest contribution was Ganitasarasangraha, a writing in 9 chapters. Somadevasuri of 950 wrote in the court of Arikesari II, a feudatory of Rashtrakuta Krishna III in Vemulavada. He was the author of Yasastilaka champu, Nitivakyamrita and other writings. The main aim of the champu writing was to propagate Jain tenets and ethics. The second writing reviews the subject matter of Arthashastra from the standpoint of Jain morals in a clear and pithy manner. Ugraditya, a Jain ascetic from Hanasoge in the modern Mysore district wrote a medical treatise called Kalyanakaraka. He delivered a discourse in the court of Amoghavarsha I encouraging abstinence from animal products and alcohol in medicine.Trivikrama was a noted scholar in the court of King Indra III. His classics were Nalachampu (915), the earliest in champu style in Sanskrit, Damayanti Katha, Madalasachampu and Begumra plates. Legend has it that Goddess Saraswati helped him in his effort to compete with a rival in the king's court. Jinasena was the spiritual preceptor and guru of Amoghavarsha I. A theologian, his contributions are Dhavala and Jayadhavala (written with another theologian Virasena). These writings are named after their patron king who was also called Athishayadhavala. Other contributions from Jinasena were Adipurana, later completed by his disciple Gunabhadra, Harivamsha and Parshvabhyudaya.\n", "labels": "What are the names of the two writings named after their patron king?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9133ede76af241a39a7f1c770bb1d3a5"}, {"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: Prose works in Sanskrit was prolific during this era as well. Important mathematical theories and axioms were postulated by Mahaviracharya, a native of Gulbarga, who belonged to the Karnataka mathematical tradition and was patronised by King Amoghavarsha I. His greatest contribution was Ganitasarasangraha, a writing in 9 chapters. Somadevasuri of 950 wrote in the court of Arikesari II, a feudatory of Rashtrakuta Krishna III in Vemulavada. He was the author of Yasastilaka champu, Nitivakyamrita and other writings. The main aim of the champu writing was to propagate Jain tenets and ethics. The second writing reviews the subject matter of Arthashastra from the standpoint of Jain morals in a clear and pithy manner. Ugraditya, a Jain ascetic from Hanasoge in the modern Mysore district wrote a medical treatise called Kalyanakaraka. He delivered a discourse in the court of Amoghavarsha I encouraging abstinence from animal products and alcohol in medicine.Trivikrama was a noted scholar in the court of King Indra III. His classics were Nalachampu (915), the earliest in champu style in Sanskrit, Damayanti Katha, Madalasachampu and Begumra plates. Legend has it that Goddess Saraswati helped him in his effort to compete with a rival in the king's court. Jinasena was the spiritual preceptor and guru of Amoghavarsha I. A theologian, his contributions are Dhavala and Jayadhavala (written with another theologian Virasena). These writings are named after their patron king who was also called Athishayadhavala. Other contributions from Jinasena were Adipurana, later completed by his disciple Gunabhadra, Harivamsha and Parshvabhyudaya.\n", "labels": "What is the name of the person whose contributions included Dhavala and Jayadhavala?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9133ede76af241a39a7f1c770bb1d3a5"}, {"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: Prose works in Sanskrit was prolific during this era as well. Important mathematical theories and axioms were postulated by Mahaviracharya, a native of Gulbarga, who belonged to the Karnataka mathematical tradition and was patronised by King Amoghavarsha I. His greatest contribution was Ganitasarasangraha, a writing in 9 chapters. Somadevasuri of 950 wrote in the court of Arikesari II, a feudatory of Rashtrakuta Krishna III in Vemulavada. He was the author of Yasastilaka champu, Nitivakyamrita and other writings. The main aim of the champu writing was to propagate Jain tenets and ethics. The second writing reviews the subject matter of Arthashastra from the standpoint of Jain morals in a clear and pithy manner. Ugraditya, a Jain ascetic from Hanasoge in the modern Mysore district wrote a medical treatise called Kalyanakaraka. He delivered a discourse in the court of Amoghavarsha I encouraging abstinence from animal products and alcohol in medicine.Trivikrama was a noted scholar in the court of King Indra III. His classics were Nalachampu (915), the earliest in champu style in Sanskrit, Damayanti Katha, Madalasachampu and Begumra plates. Legend has it that Goddess Saraswati helped him in his effort to compete with a rival in the king's court. Jinasena was the spiritual preceptor and guru of Amoghavarsha I. A theologian, his contributions are Dhavala and Jayadhavala (written with another theologian Virasena). These writings are named after their patron king who was also called Athishayadhavala. Other contributions from Jinasena were Adipurana, later completed by his disciple Gunabhadra, Harivamsha and Parshvabhyudaya.\n", "labels": "What is the name of the person that Goddess Saraswati helped him in his effort to compete with a rival in the king's court?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9133ede76af241a39a7f1c770bb1d3a5"}, {"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: Prose works in Sanskrit was prolific during this era as well. Important mathematical theories and axioms were postulated by Mahaviracharya, a native of Gulbarga, who belonged to the Karnataka mathematical tradition and was patronised by King Amoghavarsha I. His greatest contribution was Ganitasarasangraha, a writing in 9 chapters. Somadevasuri of 950 wrote in the court of Arikesari II, a feudatory of Rashtrakuta Krishna III in Vemulavada. He was the author of Yasastilaka champu, Nitivakyamrita and other writings. The main aim of the champu writing was to propagate Jain tenets and ethics. The second writing reviews the subject matter of Arthashastra from the standpoint of Jain morals in a clear and pithy manner. Ugraditya, a Jain ascetic from Hanasoge in the modern Mysore district wrote a medical treatise called Kalyanakaraka. He delivered a discourse in the court of Amoghavarsha I encouraging abstinence from animal products and alcohol in medicine.Trivikrama was a noted scholar in the court of King Indra III. His classics were Nalachampu (915), the earliest in champu style in Sanskrit, Damayanti Katha, Madalasachampu and Begumra plates. Legend has it that Goddess Saraswati helped him in his effort to compete with a rival in the king's court. Jinasena was the spiritual preceptor and guru of Amoghavarsha I. A theologian, his contributions are Dhavala and Jayadhavala (written with another theologian Virasena). These writings are named after their patron king who was also called Athishayadhavala. Other contributions from Jinasena were Adipurana, later completed by his disciple Gunabhadra, Harivamsha and Parshvabhyudaya.\n", "labels": "What is the name of what is name after their patron king?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9133ede76af241a39a7f1c770bb1d3a5"}, {"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: Prose works in Sanskrit was prolific during this era as well. Important mathematical theories and axioms were postulated by Mahaviracharya, a native of Gulbarga, who belonged to the Karnataka mathematical tradition and was patronised by King Amoghavarsha I. His greatest contribution was Ganitasarasangraha, a writing in 9 chapters. Somadevasuri of 950 wrote in the court of Arikesari II, a feudatory of Rashtrakuta Krishna III in Vemulavada. He was the author of Yasastilaka champu, Nitivakyamrita and other writings. The main aim of the champu writing was to propagate Jain tenets and ethics. The second writing reviews the subject matter of Arthashastra from the standpoint of Jain morals in a clear and pithy manner. Ugraditya, a Jain ascetic from Hanasoge in the modern Mysore district wrote a medical treatise called Kalyanakaraka. He delivered a discourse in the court of Amoghavarsha I encouraging abstinence from animal products and alcohol in medicine.Trivikrama was a noted scholar in the court of King Indra III. His classics were Nalachampu (915), the earliest in champu style in Sanskrit, Damayanti Katha, Madalasachampu and Begumra plates. Legend has it that Goddess Saraswati helped him in his effort to compete with a rival in the king's court. Jinasena was the spiritual preceptor and guru of Amoghavarsha I. A theologian, his contributions are Dhavala and Jayadhavala (written with another theologian Virasena). These writings are named after their patron king who was also called Athishayadhavala. Other contributions from Jinasena were Adipurana, later completed by his disciple Gunabhadra, Harivamsha and Parshvabhyudaya.\n", "labels": "What is the name of the person whose disciples were named  Gunabhadra, Harivamsha and Parshvabhyudaya?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9133ede76af241a39a7f1c770bb1d3a5"}, {"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 December 2005, Audioslave received its third Grammy nomination at the 48th Grammy Awards in the Best Hard Rock Performance category for \"Doesn't Remind Me.\" Audioslave began recording their next album; Cornell had already expressed his desire to make \"an album every year or year-and-a-half\" even before Out of Exile was released. In early July 2005, after the conclusion of the European tour, the band returned to the studio to write new songs; Morello said their aim was to \"blur the lines between rehearsing, recording and touring.\" The actual recording began in January 2006, with plans to release the album, Revelations, in June. This time, the band chose Out of Exile's mixer, Brendan O'Brien, as producer.\nAudioslave had 20 songs written and recorded, 16 of those in only three weeks. The album's release date, however, was postponed to early September, and the band cancelled their previously announced European tour, to have a new album to support, when they embarked on touring. The first single off the album, \"Original Fire\", was made available online on Audioslave's official website for free streaming in early July.\nNews about Cornell's departure emerged in July 2006, when insiders stated that after the third album was released, he would depart the band and restart his solo career. Cornell immediately denied the rumors, stating \"We hear rumors that Audioslave is breaking up all the time. ... I always just ignore [them].\" In the same interview, he also discussed his intentions to record a new solo album, the second in seven years, before the end of August.\nA special marketing campaign preceded the new album's release in August, when the art concept was featured on Google Earth as a fictional utopian island, Audioslave Nation, created in the South Pacific. Several songs from the upcoming album appeared on movie and video game soundtracks; \"Wide Awake\" and \"Shape of Things to Come\" were featured in Miami Vice, while \"Revelations\" was on the soundtrack of Madden NFL 07. Revelations was released on September 5, 2006. The album entered the Billboard 200 at No. 2 and sold 142,000 copies during its first week of release. It became the band's least commercially successful album; dropping even faster than Out of Exile, its sales were down 65 percent the following week, achieving gold certification a month later. The album showed funk, soul and R&B influences that were non-existent for the band before; Morello referred to the new sound as \"Led Zeppelin meets Earth, Wind & Fire.\" Additionally, several songs took a more overtly political stance than previous Audioslave releases.\n", "labels": "What soundtrack did the song \"Shape of Things to Come\" by the band that cancelled a previously announced European tour appear on?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a17a5a60716b4e198e7b699075b4856c"}, {"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 December 2005, Audioslave received its third Grammy nomination at the 48th Grammy Awards in the Best Hard Rock Performance category for \"Doesn't Remind Me.\" Audioslave began recording their next album; Cornell had already expressed his desire to make \"an album every year or year-and-a-half\" even before Out of Exile was released. In early July 2005, after the conclusion of the European tour, the band returned to the studio to write new songs; Morello said their aim was to \"blur the lines between rehearsing, recording and touring.\" The actual recording began in January 2006, with plans to release the album, Revelations, in June. This time, the band chose Out of Exile's mixer, Brendan O'Brien, as producer.\nAudioslave had 20 songs written and recorded, 16 of those in only three weeks. The album's release date, however, was postponed to early September, and the band cancelled their previously announced European tour, to have a new album to support, when they embarked on touring. The first single off the album, \"Original Fire\", was made available online on Audioslave's official website for free streaming in early July.\nNews about Cornell's departure emerged in July 2006, when insiders stated that after the third album was released, he would depart the band and restart his solo career. Cornell immediately denied the rumors, stating \"We hear rumors that Audioslave is breaking up all the time. ... I always just ignore [them].\" In the same interview, he also discussed his intentions to record a new solo album, the second in seven years, before the end of August.\nA special marketing campaign preceded the new album's release in August, when the art concept was featured on Google Earth as a fictional utopian island, Audioslave Nation, created in the South Pacific. Several songs from the upcoming album appeared on movie and video game soundtracks; \"Wide Awake\" and \"Shape of Things to Come\" were featured in Miami Vice, while \"Revelations\" was on the soundtrack of Madden NFL 07. Revelations was released on September 5, 2006. The album entered the Billboard 200 at No. 2 and sold 142,000 copies during its first week of release. It became the band's least commercially successful album; dropping even faster than Out of Exile, its sales were down 65 percent the following week, achieving gold certification a month later. The album showed funk, soul and R&B influences that were non-existent for the band before; Morello referred to the new sound as \"Led Zeppelin meets Earth, Wind & Fire.\" Additionally, several songs took a more overtly political stance than previous Audioslave releases.\n", "labels": "What is the previous album by the band that released on September 5, 2006 by the band that had songs on the Miami Vice soundtrack?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a17a5a60716b4e198e7b699075b4856c"}, {"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 December 2005, Audioslave received its third Grammy nomination at the 48th Grammy Awards in the Best Hard Rock Performance category for \"Doesn't Remind Me.\" Audioslave began recording their next album; Cornell had already expressed his desire to make \"an album every year or year-and-a-half\" even before Out of Exile was released. In early July 2005, after the conclusion of the European tour, the band returned to the studio to write new songs; Morello said their aim was to \"blur the lines between rehearsing, recording and touring.\" The actual recording began in January 2006, with plans to release the album, Revelations, in June. This time, the band chose Out of Exile's mixer, Brendan O'Brien, as producer.\nAudioslave had 20 songs written and recorded, 16 of those in only three weeks. The album's release date, however, was postponed to early September, and the band cancelled their previously announced European tour, to have a new album to support, when they embarked on touring. The first single off the album, \"Original Fire\", was made available online on Audioslave's official website for free streaming in early July.\nNews about Cornell's departure emerged in July 2006, when insiders stated that after the third album was released, he would depart the band and restart his solo career. Cornell immediately denied the rumors, stating \"We hear rumors that Audioslave is breaking up all the time. ... I always just ignore [them].\" In the same interview, he also discussed his intentions to record a new solo album, the second in seven years, before the end of August.\nA special marketing campaign preceded the new album's release in August, when the art concept was featured on Google Earth as a fictional utopian island, Audioslave Nation, created in the South Pacific. Several songs from the upcoming album appeared on movie and video game soundtracks; \"Wide Awake\" and \"Shape of Things to Come\" were featured in Miami Vice, while \"Revelations\" was on the soundtrack of Madden NFL 07. Revelations was released on September 5, 2006. The album entered the Billboard 200 at No. 2 and sold 142,000 copies during its first week of release. It became the band's least commercially successful album; dropping even faster than Out of Exile, its sales were down 65 percent the following week, achieving gold certification a month later. The album showed funk, soul and R&B influences that were non-existent for the band before; Morello referred to the new sound as \"Led Zeppelin meets Earth, Wind & Fire.\" Additionally, several songs took a more overtly political stance than previous Audioslave releases.\n", "labels": "What certification did the album released on September 5, 2006 receive a month afters its release?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a17a5a60716b4e198e7b699075b4856c"}, {"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 December 2005, Audioslave received its third Grammy nomination at the 48th Grammy Awards in the Best Hard Rock Performance category for \"Doesn't Remind Me.\" Audioslave began recording their next album; Cornell had already expressed his desire to make \"an album every year or year-and-a-half\" even before Out of Exile was released. In early July 2005, after the conclusion of the European tour, the band returned to the studio to write new songs; Morello said their aim was to \"blur the lines between rehearsing, recording and touring.\" The actual recording began in January 2006, with plans to release the album, Revelations, in June. This time, the band chose Out of Exile's mixer, Brendan O'Brien, as producer.\nAudioslave had 20 songs written and recorded, 16 of those in only three weeks. The album's release date, however, was postponed to early September, and the band cancelled their previously announced European tour, to have a new album to support, when they embarked on touring. The first single off the album, \"Original Fire\", was made available online on Audioslave's official website for free streaming in early July.\nNews about Cornell's departure emerged in July 2006, when insiders stated that after the third album was released, he would depart the band and restart his solo career. Cornell immediately denied the rumors, stating \"We hear rumors that Audioslave is breaking up all the time. ... I always just ignore [them].\" In the same interview, he also discussed his intentions to record a new solo album, the second in seven years, before the end of August.\nA special marketing campaign preceded the new album's release in August, when the art concept was featured on Google Earth as a fictional utopian island, Audioslave Nation, created in the South Pacific. Several songs from the upcoming album appeared on movie and video game soundtracks; \"Wide Awake\" and \"Shape of Things to Come\" were featured in Miami Vice, while \"Revelations\" was on the soundtrack of Madden NFL 07. Revelations was released on September 5, 2006. The album entered the Billboard 200 at No. 2 and sold 142,000 copies during its first week of release. It became the band's least commercially successful album; dropping even faster than Out of Exile, its sales were down 65 percent the following week, achieving gold certification a month later. The album showed funk, soul and R&B influences that were non-existent for the band before; Morello referred to the new sound as \"Led Zeppelin meets Earth, Wind & Fire.\" Additionally, several songs took a more overtly political stance than previous Audioslave releases.\n", "labels": "What game's soundtrack did the song \"Revelations\" appear on by the band that received its third Grammy nomination at the 48th Grammy Awards?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a17a5a60716b4e198e7b699075b4856c"}, {"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: Laika was found as a stray wandering the streets of Moscow. Soviet scientists chose to use Moscow strays since they assumed that such animals had already learned to endure conditions of extreme cold and hunger. This specimen was a 5 kg (11 lb) mongrel female, approximately three years old. Another account reported that she weighed about 6 kg (13 lb). Soviet personnel gave her several names and nicknames, among them Kudryavka (Russian for Little Curly), Zhuchka (Little Bug), and Limonchik (Little Lemon). Laika, the Russian name for several breeds of dogs similar to the husky, was the name popularised around the world. The American press dubbed her Muttnik (mutt + suffix -nik) as a pun on Sputnik, or referred to her as Curly. Her true pedigree is unknown, although it is generally accepted that she was part husky or other Nordic breed, and possibly part terrier. NASA refers to Laika as a \"part-Samoyed terrier.\" A Russian magazine described her temperament as phlegmatic, saying that she did not quarrel with other dogs. Vladimir Yazdovsky, who led the program of test dogs used on rockets, in a later publication wrote that \u201cLaika was quiet and charming\u201d.The Soviet Union and United States had previously sent animals only on sub-orbital flights. Three dogs were trained for the Sputnik 2 flight: Albina, Mushka, and Laika. Soviet space-life scientists Vladimir Yazdovsky and Oleg Gazenko trained the dogs.To adapt the dogs to the confines of the tiny cabin of Sputnik 2, they were kept in progressively smaller cages for periods of up to 20 days. The extensive close confinement caused them to stop urinating or defecating, made them restless, and caused their general condition to deteriorate. Laxatives did not improve their condition, and the researchers found that only long periods of training proved effective. The dogs were placed in centrifuges that simulated the acceleration of a rocket launch and were placed in machines that simulated the noises of the spacecraft. This caused their pulses to double and their blood pressure to increase by 30\u201365 torr. The dogs were trained to eat a special high-nutrition gel that would be their food in space.Before the launch, one of the mission scientists took Laika home to play with his children. In a book chronicling the story of Soviet space medicine, Dr. Vladimir Yazdovsky wrote, \"Laika was quiet and charming...I wanted to do something nice for her: She had so little time left to live.\".\n", "labels": "What vehicle's cabin did the dog who was \"...quiet and charming\" have to adjust to fit in?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e11a3d62420c4dd08b78ea16b2d6e423"}, {"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: Laika was found as a stray wandering the streets of Moscow. Soviet scientists chose to use Moscow strays since they assumed that such animals had already learned to endure conditions of extreme cold and hunger. This specimen was a 5 kg (11 lb) mongrel female, approximately three years old. Another account reported that she weighed about 6 kg (13 lb). Soviet personnel gave her several names and nicknames, among them Kudryavka (Russian for Little Curly), Zhuchka (Little Bug), and Limonchik (Little Lemon). Laika, the Russian name for several breeds of dogs similar to the husky, was the name popularised around the world. The American press dubbed her Muttnik (mutt + suffix -nik) as a pun on Sputnik, or referred to her as Curly. Her true pedigree is unknown, although it is generally accepted that she was part husky or other Nordic breed, and possibly part terrier. NASA refers to Laika as a \"part-Samoyed terrier.\" A Russian magazine described her temperament as phlegmatic, saying that she did not quarrel with other dogs. Vladimir Yazdovsky, who led the program of test dogs used on rockets, in a later publication wrote that \u201cLaika was quiet and charming\u201d.The Soviet Union and United States had previously sent animals only on sub-orbital flights. Three dogs were trained for the Sputnik 2 flight: Albina, Mushka, and Laika. Soviet space-life scientists Vladimir Yazdovsky and Oleg Gazenko trained the dogs.To adapt the dogs to the confines of the tiny cabin of Sputnik 2, they were kept in progressively smaller cages for periods of up to 20 days. The extensive close confinement caused them to stop urinating or defecating, made them restless, and caused their general condition to deteriorate. Laxatives did not improve their condition, and the researchers found that only long periods of training proved effective. The dogs were placed in centrifuges that simulated the acceleration of a rocket launch and were placed in machines that simulated the noises of the spacecraft. This caused their pulses to double and their blood pressure to increase by 30\u201365 torr. The dogs were trained to eat a special high-nutrition gel that would be their food in space.Before the launch, one of the mission scientists took Laika home to play with his children. In a book chronicling the story of Soviet space medicine, Dr. Vladimir Yazdovsky wrote, \"Laika was quiet and charming...I wanted to do something nice for her: She had so little time left to live.\".\n", "labels": "What were the names of the three dogs that were trained to eat high-nutrition gel?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e11a3d62420c4dd08b78ea16b2d6e423"}, {"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: 11-year-old Annie Parker is living the perfect young life, loved by all, and especially by her mother, father, and older sister. But none of them knows that something horrible is stalking their perfect family. On a fall afternoon in 1976, young Annie hears a noise from upstairs. Her mother has collapsed and died, and an agonizing downward spiral begins.\nAt UC Berkeley a brilliant research geneticist named Mary-Claire King is embarking on something of a personal crusade to uncover the genetic roots of breast cancer. While still in her twenties, she has already made a famous discovery that made the cover of Science\u2014quantifying the genetic variation between humans and chimpanzees. But her conviction that there is a hereditary basis to at least some forms of breast cancer is not widely shared. Nevertheless, her tireless research throughout the 1980s would end in a medical breakthrough\u2014the discovery of the location of the BRCA1 hereditary breast cancer gene\u2014considered one of the most important scientific discoveries of the twentieth century.At the age of 19, after the sudden death of her father, Anne marries Paul and soon is pregnant. She struggles to find a way in the world with her equally young but misguided husband and her older sister, Joan Parker who tries to become a surrogate parent to Anne. But, cruelly, Joan contracts the same cancer that killed their mother, and in a few months, she, too, is dead.\nAnnie is diagnosed with the same disease that killed her mother and sister\u2014breast cancer. It is severe, and surgery and chemotherapy, with all its accompanying difficulties, soon follows. She loses her hair, and if that wasn't enough to endure, her husband, never really mature or stable, has begun an affair with Anne's closest friend Louise, and leaves her. Paul is soon diagnosed with cancer and expires shortly before she is diagnosed with a second cancer.\n", "labels": "What are the full real names of the people whose mother died of cancer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5e8098a5dfb1494fb45fb1d44c1b0330"}, {"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: 11-year-old Annie Parker is living the perfect young life, loved by all, and especially by her mother, father, and older sister. But none of them knows that something horrible is stalking their perfect family. On a fall afternoon in 1976, young Annie hears a noise from upstairs. Her mother has collapsed and died, and an agonizing downward spiral begins.\nAt UC Berkeley a brilliant research geneticist named Mary-Claire King is embarking on something of a personal crusade to uncover the genetic roots of breast cancer. While still in her twenties, she has already made a famous discovery that made the cover of Science\u2014quantifying the genetic variation between humans and chimpanzees. But her conviction that there is a hereditary basis to at least some forms of breast cancer is not widely shared. Nevertheless, her tireless research throughout the 1980s would end in a medical breakthrough\u2014the discovery of the location of the BRCA1 hereditary breast cancer gene\u2014considered one of the most important scientific discoveries of the twentieth century.At the age of 19, after the sudden death of her father, Anne marries Paul and soon is pregnant. She struggles to find a way in the world with her equally young but misguided husband and her older sister, Joan Parker who tries to become a surrogate parent to Anne. But, cruelly, Joan contracts the same cancer that killed their mother, and in a few months, she, too, is dead.\nAnnie is diagnosed with the same disease that killed her mother and sister\u2014breast cancer. It is severe, and surgery and chemotherapy, with all its accompanying difficulties, soon follows. She loses her hair, and if that wasn't enough to endure, her husband, never really mature or stable, has begun an affair with Anne's closest friend Louise, and leaves her. Paul is soon diagnosed with cancer and expires shortly before she is diagnosed with a second cancer.\n", "labels": "What is the full real name of the person that has hair loss?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5e8098a5dfb1494fb45fb1d44c1b0330"}, {"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: 11-year-old Annie Parker is living the perfect young life, loved by all, and especially by her mother, father, and older sister. But none of them knows that something horrible is stalking their perfect family. On a fall afternoon in 1976, young Annie hears a noise from upstairs. Her mother has collapsed and died, and an agonizing downward spiral begins.\nAt UC Berkeley a brilliant research geneticist named Mary-Claire King is embarking on something of a personal crusade to uncover the genetic roots of breast cancer. While still in her twenties, she has already made a famous discovery that made the cover of Science\u2014quantifying the genetic variation between humans and chimpanzees. But her conviction that there is a hereditary basis to at least some forms of breast cancer is not widely shared. Nevertheless, her tireless research throughout the 1980s would end in a medical breakthrough\u2014the discovery of the location of the BRCA1 hereditary breast cancer gene\u2014considered one of the most important scientific discoveries of the twentieth century.At the age of 19, after the sudden death of her father, Anne marries Paul and soon is pregnant. She struggles to find a way in the world with her equally young but misguided husband and her older sister, Joan Parker who tries to become a surrogate parent to Anne. But, cruelly, Joan contracts the same cancer that killed their mother, and in a few months, she, too, is dead.\nAnnie is diagnosed with the same disease that killed her mother and sister\u2014breast cancer. It is severe, and surgery and chemotherapy, with all its accompanying difficulties, soon follows. She loses her hair, and if that wasn't enough to endure, her husband, never really mature or stable, has begun an affair with Anne's closest friend Louise, and leaves her. Paul is soon diagnosed with cancer and expires shortly before she is diagnosed with a second cancer.\n", "labels": "What is the full real name of the person that is diagnosed with a second cancer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5e8098a5dfb1494fb45fb1d44c1b0330"}, {"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 frustration at #1 Record's obstructed sales contributed to tension within the band. There was physical fighting between members: Bell, after being punched in the face by Hummel, retaliated by smashing Hummel's new bass guitar to pieces against the wall. Hummel took revenge at a later date: Finding Bell's acoustic guitar in the latter's unattended car, he repeatedly punched it with a screwdriver. In November 1972, Bell quit the band. When work continued on songs for a second album, Bell rejoined, but further conflict soon erupted. A master tape of the new songs inexplicably went missing, and Bell, whose heavy drug intake was affecting his judgment, attacked Fry's parked car. In late 1972, struggling with severe depression, Bell quit the band once more, and by the end of the year Big Star disbanded.\nAfter a few months Chilton, Stephens, and Hummel decided to reform Big Star, and the three resumed work on the second album. The title chosen, Radio City, continued the play on the theme of a big star's popularity and success, expressing what biographer Robert Gordon calls the band's \"romantic expectation\". As Hummel put it,\nThis was probably pretty lame, but in those days putting any word in front of the noun \"city\" to sort of emphasize the totality and pervasiveness of it was just a way of talking people had. If someone suggested going to a store but you had gotten a bad deal there you might say, \"Oh no, that place is 'rip off city'.\" Calling an LP Radio City would be kind of wishful thinking. I mean we hoped it would be played on the radio a lot, making it \"radio city\". Of course it didn't pan out that way... Stephens recalled: \"Radio City, for me, was just an amazing record. Being a three-piece really opened things up for me in terms of playing drums. Drums take on a different role in a three-piece band, so it was a lot of fun. [...] Radio City was really more spontaneous, and the performances were pretty close to live performances.\"Although uncredited, Bell contributed to the writing of some of the album's songs, including \"O My Soul\" and \"Back of a Car\". Shortly before the album's release, Hummel left the band: judging that it would not last, and in his final year at college, he elected to concentrate on his studies and live a more normal life. He was replaced by John Lightman for a short tenure prior to the band dissolving.\n", "labels": "Who was replaced by John Lightman?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c318e256330c4d2ebf243e40c7824efa"}, {"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 begins when a private jet descends on a runway of a small airport in Collingswood, New Jersey. Famous movie director Gene Orman has visited the town to attend the premiere of his latest film, Sam's Son. On the way to the theater, he orders his driver to have the limo stop across the street from his childhood home where he grew up. He gets out and looks at the house, while tearfully saying, \"We did it, Sam.\"\nWe are then transported back to the year 1953 when Gene was still known as Eugene Orowitz, an ordinary, shy teenager struggling with his identity. He has a father Sam, a movie theater manager who is constantly bullied and his sharp-tongue mother Harriet who has no patience for Eugene's privacy in the bathroom. Eugene also has a girlfriend Bonnie who grows increasingly disdained when with him, especially when the new transfer student and resident bully Bob Woods begins to take a liking to Bonnie. One night, when Eugene and Bonnie are at the movies, they are constantly harassed by Woods in the theater until Sam firmly escorts him out. To get revenge, he challenges Eugene to a fight when he takes Bonnie home, but Eugene doesn't back down and Woods calls him a wimp for chickening out. While running home, Eugene is met up with classmates who drag a reluctant Eugene to a rowdy neighborhood bar where they eventually get into a fight with a loutish patron, but they escape before the cops are called.\n", "labels": "What is the last name of the person who tries to get revenge?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-cff05fd92cc042a99d6a8669d1b94382"}, {"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 begins when a private jet descends on a runway of a small airport in Collingswood, New Jersey. Famous movie director Gene Orman has visited the town to attend the premiere of his latest film, Sam's Son. On the way to the theater, he orders his driver to have the limo stop across the street from his childhood home where he grew up. He gets out and looks at the house, while tearfully saying, \"We did it, Sam.\"\nWe are then transported back to the year 1953 when Gene was still known as Eugene Orowitz, an ordinary, shy teenager struggling with his identity. He has a father Sam, a movie theater manager who is constantly bullied and his sharp-tongue mother Harriet who has no patience for Eugene's privacy in the bathroom. Eugene also has a girlfriend Bonnie who grows increasingly disdained when with him, especially when the new transfer student and resident bully Bob Woods begins to take a liking to Bonnie. One night, when Eugene and Bonnie are at the movies, they are constantly harassed by Woods in the theater until Sam firmly escorts him out. To get revenge, he challenges Eugene to a fight when he takes Bonnie home, but Eugene doesn't back down and Woods calls him a wimp for chickening out. While running home, Eugene is met up with classmates who drag a reluctant Eugene to a rowdy neighborhood bar where they eventually get into a fight with a loutish patron, but they escape before the cops are called.\n", "labels": "What is the full name of the person who tearfully looks at a house?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-cff05fd92cc042a99d6a8669d1b94382"}, {"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 begins when a private jet descends on a runway of a small airport in Collingswood, New Jersey. Famous movie director Gene Orman has visited the town to attend the premiere of his latest film, Sam's Son. On the way to the theater, he orders his driver to have the limo stop across the street from his childhood home where he grew up. He gets out and looks at the house, while tearfully saying, \"We did it, Sam.\"\nWe are then transported back to the year 1953 when Gene was still known as Eugene Orowitz, an ordinary, shy teenager struggling with his identity. He has a father Sam, a movie theater manager who is constantly bullied and his sharp-tongue mother Harriet who has no patience for Eugene's privacy in the bathroom. Eugene also has a girlfriend Bonnie who grows increasingly disdained when with him, especially when the new transfer student and resident bully Bob Woods begins to take a liking to Bonnie. One night, when Eugene and Bonnie are at the movies, they are constantly harassed by Woods in the theater until Sam firmly escorts him out. To get revenge, he challenges Eugene to a fight when he takes Bonnie home, but Eugene doesn't back down and Woods calls him a wimp for chickening out. While running home, Eugene is met up with classmates who drag a reluctant Eugene to a rowdy neighborhood bar where they eventually get into a fight with a loutish patron, but they escape before the cops are called.\n", "labels": "What is the full name of the person who has a movie theater manager as a father?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-cff05fd92cc042a99d6a8669d1b94382"}, {"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 tells a story of Muna and Imoh, a happily married young couple. On his way to work, Imoh had an accident that got him to coma. Despite monetary challenges, Muna continued believing that Imoh will regain consciousness. After the hospital decided to discharge Imoh in his condition, Muna seeks help from her dad, Mr Mba, who gave her part of the money needed for him to continue to use the life support at least for a month. Muna's sister, Tina, (Tamara Eteimo), is worried that Muna is allowing her husband's situation get the best of her and Imoh might never be fully healthy. She convinced Muna to follow her to an event, to the distaste of Muna. On getting to the club, Tina's friend, Yemi tries to woo Muna, after Tina tells him about Muna's situation. The next day, Muna got angry with Tina, who explained that Yemi is a medical doctor and might be able to assist that was why she told him personal information concerning her husband. Despite Yemi's advances to become friends, Muna is reluctant in reciprocating his kindness towards her. After some months, they get to know each-other more and Muna began to get herself together again despite Imoh still in coma. She got her script-writing job back despite a lack of recommendation from her producer, (Deyemi Okanlawon) earlier. While having fun with Yemi, Muna got caught in the moment and had sex with him. The sexual encounter resulted to pregnancy. A few days after Muna is aware of being pregnant Imoh regained consciousness and was discharged from the hospital.\n", "labels": "What is the first name of the person who gets their script writing job back?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-33b7d54c68f349839d0e47b5d7d5b722"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "Who heard someone's Faust Symphony and Die Ideale?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "Whose symphony was rejected by the Court?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "Whose symphony received a lukewarm reception?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "Whose piece is now called the Festive Symphony?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "M\u00e1 vlast was bolder than anything who tried before?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "What are the two names of the work that was well received in Gothenburg in 1860?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "What were the names of the three symphonic poems written by Smetana?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "What is the name of Smetana's first large-scale piece that is independent of words?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as \"an epithalamium for a Habsburg Prince\", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the \"triumphal\" tag, under Adolf \u010cech. The piece is now sometimes called the Festive Symphony.\nSmetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts.\nFrom 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning M\u00e1 vlast in 1872. In his introduction to the Collected Edition Score, Franti\u0161ek Bartol brackets M\u00e1 vlast with the opera Libu\u0161e as \"direct symbols of [the] consummating national struggle\". M\u00e1 vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents \"a cross-section of Czech history and legend and impressions of its scenery, and ... conveys vividly to us Smetana's view of the ethos and greatness of the nation.\" Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of The Bartered Bride Overture. Smetana dedicated M\u00e1 vlast to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its Vltava (or \"The Moldau\" in German) movement, depicting the river that runs through Prague towards its junction with the Elbe, is Smetana's best-known and most internationally popular orchestral composition.\n", "labels": "What is the name of Smetana's most internationally popular orchestral composition?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-79d7764a0f284b35a3db10207989056d"}, {"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 the palace at Ithaca, Penelope mourns the long absence of Ulysses: \"The awaited one does not return, and the years pass by.\" Her grief is echoed by her nurse, Ericlea. As Penelope leaves, her attendant Melanto enters with Eurimaco, a servant to Penelope's importunate suitors. The two sing passionately of their love for each other (\"You are my sweet life\"). The scene changes to the Ithacan coast, where the sleeping Ulisse is brought ashore by the Phaecians (Faeci), whose action is in defiance of the wishes of gods Giove and Nettuno. The Phaecians are punished by the gods who turn them and their ship to stone. Ulysses awakes, cursing the Phaecians for abandoning him: \"To your sails, falsest Phaeacians, may Boreas be ever hostile!\" From the goddess Minerva, who appears disguised as a shepherd boy, Ulisse learns that he is in Ithaca, and is told of \"the unchanging constancy of the chaste Penelope\", in the face of the persistent importunings of her evil suitors. Minerva promises to lead Ulisse back to the throne if he follows her advice; she tells him to disguise himself so that he can penetrate the court secretly. Ulisse goes to seek out his loyal servant Eumete, while Minerva departs to search for Telemaco, Ulisse's son who will help his father reclaim the kingdom. Back at the palace, Melanto tries vainly to persuade Penelope to choose one of the suitors: \"Why do you disdain the love of living suitors, expecting comfort from the ashes of the dead?\" In a wooded grove Eumete, banished from court by the suitors, revels in the pastoral life, despite the mockery of Iro, the suitors' parasitic follower, who sneers: \"I live among kings, you here among the herds.\" After Iro is chased away, Ulisse enters disguised as a beggar, and assures Eumete that his master the king is alive, and will return. Eumete is overjoyed: \"My long sorrow will fall, vanquished by you.\".\n", "labels": "What is the name of the person whose grief is echoed by her nurse?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a12d92d0b0474fd2b8cce40b248a2520"}, {"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 the palace at Ithaca, Penelope mourns the long absence of Ulysses: \"The awaited one does not return, and the years pass by.\" Her grief is echoed by her nurse, Ericlea. As Penelope leaves, her attendant Melanto enters with Eurimaco, a servant to Penelope's importunate suitors. The two sing passionately of their love for each other (\"You are my sweet life\"). The scene changes to the Ithacan coast, where the sleeping Ulisse is brought ashore by the Phaecians (Faeci), whose action is in defiance of the wishes of gods Giove and Nettuno. The Phaecians are punished by the gods who turn them and their ship to stone. Ulysses awakes, cursing the Phaecians for abandoning him: \"To your sails, falsest Phaeacians, may Boreas be ever hostile!\" From the goddess Minerva, who appears disguised as a shepherd boy, Ulisse learns that he is in Ithaca, and is told of \"the unchanging constancy of the chaste Penelope\", in the face of the persistent importunings of her evil suitors. Minerva promises to lead Ulisse back to the throne if he follows her advice; she tells him to disguise himself so that he can penetrate the court secretly. Ulisse goes to seek out his loyal servant Eumete, while Minerva departs to search for Telemaco, Ulisse's son who will help his father reclaim the kingdom. Back at the palace, Melanto tries vainly to persuade Penelope to choose one of the suitors: \"Why do you disdain the love of living suitors, expecting comfort from the ashes of the dead?\" In a wooded grove Eumete, banished from court by the suitors, revels in the pastoral life, despite the mockery of Iro, the suitors' parasitic follower, who sneers: \"I live among kings, you here among the herds.\" After Iro is chased away, Ulisse enters disguised as a beggar, and assures Eumete that his master the king is alive, and will return. Eumete is overjoyed: \"My long sorrow will fall, vanquished by you.\".\n", "labels": "What are the exact names of the two individuals who sing passionately of their love for each other?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a12d92d0b0474fd2b8cce40b248a2520"}, {"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 the palace at Ithaca, Penelope mourns the long absence of Ulysses: \"The awaited one does not return, and the years pass by.\" Her grief is echoed by her nurse, Ericlea. As Penelope leaves, her attendant Melanto enters with Eurimaco, a servant to Penelope's importunate suitors. The two sing passionately of their love for each other (\"You are my sweet life\"). The scene changes to the Ithacan coast, where the sleeping Ulisse is brought ashore by the Phaecians (Faeci), whose action is in defiance of the wishes of gods Giove and Nettuno. The Phaecians are punished by the gods who turn them and their ship to stone. Ulysses awakes, cursing the Phaecians for abandoning him: \"To your sails, falsest Phaeacians, may Boreas be ever hostile!\" From the goddess Minerva, who appears disguised as a shepherd boy, Ulisse learns that he is in Ithaca, and is told of \"the unchanging constancy of the chaste Penelope\", in the face of the persistent importunings of her evil suitors. Minerva promises to lead Ulisse back to the throne if he follows her advice; she tells him to disguise himself so that he can penetrate the court secretly. Ulisse goes to seek out his loyal servant Eumete, while Minerva departs to search for Telemaco, Ulisse's son who will help his father reclaim the kingdom. Back at the palace, Melanto tries vainly to persuade Penelope to choose one of the suitors: \"Why do you disdain the love of living suitors, expecting comfort from the ashes of the dead?\" In a wooded grove Eumete, banished from court by the suitors, revels in the pastoral life, despite the mockery of Iro, the suitors' parasitic follower, who sneers: \"I live among kings, you here among the herds.\" After Iro is chased away, Ulisse enters disguised as a beggar, and assures Eumete that his master the king is alive, and will return. Eumete is overjoyed: \"My long sorrow will fall, vanquished by you.\".\n", "labels": "What is the name of the person who tells Ulisse to disguise himself so that he can penetrate the court secretly?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a12d92d0b0474fd2b8cce40b248a2520"}, {"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 the palace at Ithaca, Penelope mourns the long absence of Ulysses: \"The awaited one does not return, and the years pass by.\" Her grief is echoed by her nurse, Ericlea. As Penelope leaves, her attendant Melanto enters with Eurimaco, a servant to Penelope's importunate suitors. The two sing passionately of their love for each other (\"You are my sweet life\"). The scene changes to the Ithacan coast, where the sleeping Ulisse is brought ashore by the Phaecians (Faeci), whose action is in defiance of the wishes of gods Giove and Nettuno. The Phaecians are punished by the gods who turn them and their ship to stone. Ulysses awakes, cursing the Phaecians for abandoning him: \"To your sails, falsest Phaeacians, may Boreas be ever hostile!\" From the goddess Minerva, who appears disguised as a shepherd boy, Ulisse learns that he is in Ithaca, and is told of \"the unchanging constancy of the chaste Penelope\", in the face of the persistent importunings of her evil suitors. Minerva promises to lead Ulisse back to the throne if he follows her advice; she tells him to disguise himself so that he can penetrate the court secretly. Ulisse goes to seek out his loyal servant Eumete, while Minerva departs to search for Telemaco, Ulisse's son who will help his father reclaim the kingdom. Back at the palace, Melanto tries vainly to persuade Penelope to choose one of the suitors: \"Why do you disdain the love of living suitors, expecting comfort from the ashes of the dead?\" In a wooded grove Eumete, banished from court by the suitors, revels in the pastoral life, despite the mockery of Iro, the suitors' parasitic follower, who sneers: \"I live among kings, you here among the herds.\" After Iro is chased away, Ulisse enters disguised as a beggar, and assures Eumete that his master the king is alive, and will return. Eumete is overjoyed: \"My long sorrow will fall, vanquished by you.\".\n", "labels": "What is the name of the person Minerva tells to disguise himself so that he can penetrate the court secretly?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a12d92d0b0474fd2b8cce40b248a2520"}, {"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: Blonde on Blonde reached the Top 10 in both the US and UK album charts, and also spawned a number of hits that restored Dylan to the upper echelons of the singles charts. In August 1967, the album was certified as a gold disc.The album received generally favorable reviews. Pete Johnson in the Los Angeles Times wrote, \"Dylan is a superbly eloquent writer of pop and folk songs with an unmatched ability to press complex ideas and iconoclastic philosophy into brief poetic lines and startling images.\" The editor of Crawdaddy!, Paul Williams, reviewed Blonde on Blonde in July 1966: \"It is a cache of emotion, a well handled package of excellent music and better poetry, blended and meshed and ready to become part of your reality. Here is a man who will speak to you, a 1960s bard with electric lyre and color slides, but a truthful man with x-ray eyes you can look through if you want. All you have to do is listen.\"To accompany the songbook of Blonde on Blonde, Paul Nelson wrote an introduction stating, \"The very title suggests the singularity and the duality we expect from Dylan. For Dylan's music of illusion and delusion\u2014with the tramp as explorer and the clown as happy victim, where the greatest crimes are lifelessness and the inability to see oneself as a circus performer in the show of life\u2014has always carried within it its own inherent tensions ... Dylan in the end truly UNDERSTANDS situations, and once one truly understands anything, there can no longer be anger, no longer be moralizing, but only humor and compassion, only pity.\".\n", "labels": "What is the last name of the person that created the top 10 album that was reviewed in July 1966 for Crawdaddy!?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-14b53573dd7b4f30b8f3ab223265c0cd"}, {"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: Young lawyer Emily Reed travels to New York City for an interview with an international law firm, which immediately offers her a job on the condition that she can fly to Rio de Janeiro the following morning. Emily agrees and is introduced to Claudia Dennis, one of the firm's top executives. They arrive in Rio to finalize the purchase of a hotel, but angry Claudia must fly to Buenos Aires, Argentina, to meet the hotel's owner. Claudia instructs Emily to cover her date for the night. While viewing the hotel, Emily sees two locals having animalistic sex, which unnerves her and she returns to her own hotel. She meets Claudia's date; a wealthy man named James Wheeler. They have dinner, accompanied by James' bodyguards.\nJames intrigues Emily; he is quiet and asks personal questions without being demanding or rude. After dinner, they attend a street carnival; Emily leaves after a masked man who looks like James tries to seduce her. The next morning, Emily wakes to find James watching her. He gives her a bouquet of orchids and denies making advances to her the previous evening, and as an apology, he offers to show her the city. She is initially reluctant but consents; they attend a party with a married couple that they noticed in the restaurant the night before. Some navy sailors at the party try to make advances on the wife; James fights them and he, Emily, and the couple leave quickly in his limousine. The married couple is having marital problems because of the wife's infidelity. She wants to reconcile with her husband. James encourages the couple to have sex in the limo, which they do. Emily finds their actions disturbing. Emily and James then visit the hotel that her firm wants to buy, and she tells James that she fears he would disappear if she touched him. When Emily hugs James, he pulls away from her, telling her that he does not like to be touched.\n", "labels": "What is the first name of the person that is asked to cover a date?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b5b639aad84a1dbea001b03c376f9b"}]