Question: Passage: The rectangular narthex constitutes the middle part of the building, between the atrium and the cella, and serves as the lobby of the church. It lies directly east of the atrium, through a wide gate flanked by a couple of high circular turrets. Mavrodinov likens the narthex of the Round Church to similar structures in the churches of Mount Athos, because of its depth.Together with the north and south wall, the entrance of the narthex effectively isolates two smaller parts of the atrium, similar in plan and accessible through doors. The north part includes a small necropolis, while the south part was probably a baptistery, as it features a square installation with a clay pipe that resembles a baptismal font. However, Nikolova considers its shape much too unusual and its depth unsuitable for baptism, and believes it may instead have been designed as a vessel for dispensing holy water.Measuring 5 m × 9.50 m (16.4 ft × 31.2 ft), the narthex is the part of the Round Church which has survived in best shape, as some of its walls reach 3 m (9.8 ft). Its two turrets have a diameter of 3.20 m (10.5 ft); each has an entrance facing the interior of the narthex and three windows. The higher reaches of the towers were reached via spiral stairways, archaeological remains of which have been unearthed in the north turret. There are two pairs of columns inside the narthex, supporting its second floor, which is accessible from the north tower. The columns divide the narthex into three naves and mark the way from the narthex entrance to the gates of the rotunda.

Passage: In August 1560, parliament assembled in Edinburgh and legislated that the Scottish church would be Protestant, the Pope would have no authority and that the Catholic mass was illegal. Scottish cathedrals now survived only if they were used as parish churches and as Elgin had been fully served by the Kirk of St Giles, its cathedral was abandoned. An act of parliament passed on 14 February 1567 authorised Regent Lord James Stewart's Privy Council to order the removal of the lead from the roofs of both Elgin and Aberdeen cathedrals, to be sold for the upkeep of his army, but the overladen ship that was intended to take the cargo to Holland capsized and sank in Aberdeen harbour. In 1615, John Taylor, the 'Water Poet', described Elgin Cathedral as "a faire and beautiful church with three steeples, the walls of it and the steeples all yet standing; but the roofes, windowes and many marble monuments and tombes of honourable and worthie personages all broken and defaced".Decay had set in and the roof of the eastern limb collapsed during a gale on 4 December 1637. In 1640 the General Assembly ordered Gilbert Ross, the minister of St Giles kirk, to remove the rood screen which still partitioned the choir and presbytery from the nave. Ross was assisted in this by the Lairds of Innes and Brodie who chopped it up for firewood. It is believed that the destruction of the great west window was caused by Oliver Cromwell's soldiers sometime between 1650 and 1660.At some point, the cathedral grounds had become the burial ground for Elgin. The town council arranged for the boundary wall to be repaired in 1685 but significantly, the council ordered that the stones from the cathedral should not be used for that purpose. Although the building was becoming increasingly unstable the chapterhouse continued to be used for meetings of the Incorporated Trades from 1671 to 1676 and then again from 1701 to around 1731. No attempt was made to stabilise the structure and on Easter Sunday 1711 the central tower gave way, demolishing the nave. Following this collapse, the "quarrying" of the cathedral's stonework for local projects began. Many artists visited Elgin to sketch the ruins, and it is from their work that the slow but continuing ruination can be observed. By the closing years of the 18th century, travelers to Elgin began to visit the ruin, and pamphlets giving the history of the cathedral were prepared for those early tourists. In 1773 Samuel Johnson recorded, "a paper was put into our hands, which deduced from sufficient authorities the history of this venerable ruin.".

Passage: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch.

Instruction: 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.


Question:
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society.
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters.
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.

Passage: In Edwardian London, 1910, Bert entertains a crowd as a one-man band when he senses a change in the wind. Afterwards, he directly addresses the audience, and gives them a tour of Cherry Tree Lane, stopping outside the Banks family's home. George Banks returns home to learn from his wife, Winifred, that Katie Nanna has left their service after Jane and Michael ran away again. They are returned shortly after by Constable Jones, who reveals the children were chasing a lost kite. The children ask their father to help build a better kite, but he dismisses them. Taking it upon himself to hire a new nanny, Mr. Banks advertises for a stern, no-nonsense nanny. Instead, Jane and Michael present their own advertisement for a kinder, sweeter nanny. Mr. Banks rips up the letter, and throws the scraps in the fireplace, but the remains of the advertisement magically float up, and out into the air.
The next day, a number of elderly, sour-faced nannies wait outside the Banks' home, but a strong gust of wind blows them away, and Jane and Michael witness a young nanny descending from the sky using her umbrella. Presenting herself to Mr. Banks, Mary Poppins calmly produces the children's restored advertisement, and agrees with its requests, but promises the astonished banker she will be firm with his children. As Mr. Banks puzzles over the advertisement's return, Mary Poppins hires herself, and convinces him it was originally his idea. She meets the children, then helps them magically tidy their nursery through song, before heading out for a walk in the park.

Passage: Pat, a hotel switchboard operator and Peter a crane operator are a happy well meaning couple, however because of their different shifts during the day they have no time for each other. While he works during the day on the construction of Waterloo Bridge his patient wife works during the night on a hotel telephone exchange. One morning on his way to work, Peter goes on the London Underground train and spots what seems to be a murder being committed on at the open window of a building overlooking the tracks. Deciding to investigate this "crime" Peter and a policeman arrive at the residence. There they find out that the couple were in fact rehearsing an illusion. Zoltini is a bad tempered magician and his wife Vivienne is his assistant. The suspicious magician becomes sure that his wife is having an affair with Peter - every time he sees her with the handsome stranger. On another night Zoltini and Vivienne have an argument on the backstage - leading to him slapping her in the face. As a result, Vivienne leaves (while her husband performs on stage) and takes a taxi with Peter up to his crane. Furious with Vivienne for leaving during the 'vanishing women' sequence of their performance, Zoltini looks for his wife while Pat has been sacked from the hotel for not paying attention to her job.

Instruction: 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.


Question: Passage: The neck guard, flared outward to protect the shoulders, is covered with a decorative plate consisting of three horizontal designs. At the top, over the base of the skull, a large torus of ivy leaves is bordered by cords; the ivy is gilded, though the cords are not. In the middle, a smooth and concave transitional zone corresponds to the hollow of the neck. At the bottom, an acanthus rinceau, or scroll, is interspersed with birds and butterflies. Portions of the bottom ornamentation are gilded, giving the helmet, with all its silver, gold, and iron components, a polychrome appearance. The ear guards encroach slightly on the bottom design, suggesting that it was not created specifically for the helmet.The face mask is made of iron, and covered with a sheet of silver. The central hinge from which it hangs is made of three parts: an iron tube welded to the interior head piece with an exterior silver tube, a notched silver tube fixed to the face mask that envelops the first part, and a pin which passes through both and has a silver knob at each end. The mask is shaped in the form of a human face. Holes are drilled between the lips and as nostrils; the eyes each have a narrow slit, with three holes in a trefoil design, two round holes outside and a heart-shaped hole in the middle, underneath each eye to allow for a greater range of vision. These apparently were not enough, for a small and rudimentary notch was carved into each of the heart-shaped holes to increase the wearer's vision. The mask is approximately 2 millimetres thick, of which the silver, which is folded around both the edges and each hole to hold it to the iron, accounts for between .25 and .5 millimetres.Distinctive features cover the face mask. The nose is long and fleshy with a prominent bump, and extends high between the eyes. The cheekbones are low yet prominent, and the small mouth, which droops toward the sinister side, shows a thick lower lip. Other features—the eyes and eyebrows, and the chin—are more conventional. The distinctive features suggest that the maker of the Emesa helmet attempted to translate some of the individual characteristics of the wearer's face into the helmet.

Passage: The boar was an important symbol in prehistoric Europe, where, according to the archaeologist Jennifer Foster, it was "venerated, eulogised, hunted and eaten ... for millennia, until its virtual extinction in recent historical time." Anglo-Saxon boar symbols follow a thousand years of similar iconography, coming after La Tène examples in the fourth century BC, Gaulish specimens three centuries later, and Roman boars in the fourth century AD. They likely represent a fused tradition of European and Mediterranean cultures. The boar is said to have been sacred to a mother goddess figure among linguistically Celtic communities in Iron Age Europe, while the Roman historian Tacitus, writing around the first century AD, suggested that the Baltic Aesti wore boar symbols in battle to invoke her protection.Boar-crested helmets are depicted on the turn-of-the-millennium Gundestrup cauldron, discovered in Denmark, and on a Torslunda plate from Sweden, made some 500 years later. Though the Romans also included the boar in their stable of symbols—four legions, including the twentieth, adopted it as their emblem—it was only one among many. The boar nonetheless persisted in continental Germanic tradition during the nearly 400 years of Roman rule in Britain, such as in association with the Scandinavian gods Freyja and Freyr. Its return to prominence in the Anglo-Saxon period, as represented by the boars from Benty Grange, Wollaston, Guilden Morden, and Horncastle, may therefore suggest the post-Roman reintroduction of a Germanic tradition from Europe, rather than the continuation of a tradition in Britain through 400 years of Roman rule. Whatever its precise symbolism, the Anglo-Saxon boar appears to have been associated with protection; the Beowulf poet makes this clear, writing that boar symbols on helmets kept watch over the warriors wearing them.

Passage: Head VI is an oil-on-canvas painting by the Irish-born figurative artist Francis Bacon, the last of six panels making up his "1949 Head" series. It shows a bust view of a single figure, modeled on Diego Velázquez's Portrait of Innocent X. Bacon applies forceful, expressive brush strokes, and places the figure within a glass cage structure, behind curtain-like drapery. This gives the effect of a man trapped and suffocated by his surroundings, screaming into an airless void.
Head VI was the first of Bacon's paintings to reference Velázquez, whose portrait of Pope Innocent X haunted him throughout his career and inspired his series of "screaming popes", a loose series of which there are around 45 surviving individual works. Head VI contains many motifs that were to reappear in Bacon's work. The hanging object, which may be a light switch or curtain tassel, can be found even in his late paintings. The geometric cage is a motif that appears as late as his 1985–86 masterpiece Study for a Self-Portrait—Triptych.
Head VI was first exhibited in November 1949 at the Hanover Gallery in London, in a showing organised by one of the artist's early champions, Erica Brausen. At the time, Bacon was a highly controversial but respected artist, best known for his 1944 Three Studies for Figures at the Base of a Crucifixion, which made him the enfant terrible of British art. Head VI drew a mixed reaction from art critics; John Russell, later Bacon's biographer, at the time dismissed it as a cross between "an alligator shorn of its jaws and an accountant in pince-nez who has come to a bad end". In 1989 Lawrence Gowing wrote that the "shock of the picture, when it was seen with a whole series of heads ... was indescribable. It was everything unpardonable. The paradoxical appearance at once of pastiche and iconoclasm was indeed one of Bacon's most original strokes." Art critic and curator David Sylvester described it as a seminal piece from Bacon's unusually productive 1949–50 period, and one of Bacon's finest popes.

Instruction: 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.


Question:
Passage: Husband and wife Rawdon and Miranda are soulmates. Their love for each other is palpable as they lie in bed treasuring their 6 month old daughter Quincey. Miranda fantasizes about the speech she plans to make when, one day in their future, she will give this tiny infant away at her wedding.
Tragically, when Quincey is 3, Miranda is killed in a car accident and Rawdon is left alone, unmoored, to continue life without the love of his life.
Fortunately Rawdon still has Quincey.  Staying as strong as he can he takes her to the roof of a skyscraper and explains that Mommy is now an angel.   It is up here that for the first time they see a vision of Miranda as an angel.
Rawdon continues to see visions of her. Initially these visions help him—at home she gives him advice about parenting; in Portugal she softens his hardness;  when he hides in the closet to isolate himself she snaps some sense into him and insists that Rawdon keep her mother, father and brother—Quincey's Grandparents and Uncle Jack – firmly in Quincey's life.
Rawdon explains these visions to his therapist Paula as she helps him with the long grieving process and over a period of years, with Quincey growing before our eyes, Rawdon tries to move on with his life.
He tries to date other women. Disastrously.  He falls instantly in love with Sam who ends up becoming his good friend and a surrogate Aunt to Quincey.  He dates other including Kimberly (Joely Fisher) who Quincey wisely suggests is far better suited to her Uncle Jack.   And she is right.  When Jack and Kimberly get married, Rawdon is their best man.

Passage: College student Sarah Foster is found by the police, as she is sleepwalking in her nightgown on the road. Since the suicide of her husband Jonathon, who worked as a novelist, she is suffering from sleep disorder. A few days later, she talks to Dr Cooper, whose student she was, about the sleepwalking and a recurring nightmare, in which she is attacked by an unknown man. Cooper sends her to a therapy in a sleep laboratory. During a walk on a cemetery, Sarah talks about it with her room mate Dawn, who shows a personal interest in her professor Owen. Then an attractive man gets out of a black car and Sarah imagines him being a single. At the evening in the sleep laboratory, Dr. Koslov explains to her that her neuronal activity will be observed during the night. He also introduces her to Dr. Scott White, the director of the lab. It is the man whom Sarah has seen at the cemetery. He tells her, that a student was buried and he was there with a colleague. Sarah confides to him that she loved her husband, but not his work as a novelist.
The next morning she wakes up in a different room after a silent, dreamless night. White takes her case. He reports about irregularities in the theta waves and asks her to spend some more nights in the lab. Sarah recognizes that something is wrong.
In the lecture hall she questions the statement of her teacher, who thinks that love stories are just a dopamine kick or a bipolar disorder. But she is even more irritated when he addresses her as Miss Wells and a student repeats this name. Also Dawn, her driver's license, her diary and a dedication in her husband's book affirm this surname. Sarah is rejected by Cooper's assistant. In the sleep laboratory Dr Koslov shows her a protocol about her dream in which she is pursued. She denies having dreamed anything, but sees her signature on the form.

Passage: While dancing at the Palais Royale in Akron, Ohio, Bubbles, a cynical blonde chorine, and Judy O'Brien, an aspiring young ballerina, meet Jimmy Harris, the scion of a wealthy family. Both women are attracted to Jimmy, a tormented young man who is still in love with his estranged wife Elinor. Back in New York, Bubbles finds work in a burlesque club, while Madame Basilova, the girls' teacher and manager, arranges an audition for Judy with ballet impresario Steve Adams. En route to the audition, Madame Basilova is run over by a car and killed, and Judy, intimidated by the other dancers, flees before she can meet Steve. As she leaves the building, Judy shares an elevator with Steve, who offers her a cab ride, but she is unaware of who he is and rejects his offer. Soon after, Bubbles, now called Tiger Lily the burlesque queen, offers Judy a job as her stooge in the Bailey Brothers burlesque show and, desperate, she accepts. One night, both Jimmy and Steve attend the performance, and Judy leaves with Jimmy and tears up the card that Steve left for her. The next night, while at a nightclub with Judy, Jimmy has a fistfight with his ex-wife's new husband, and the next day their pictures appear in the newspaper. Bubbles, furious with Judy for stealing Jimmy, appears at the girl's apartment, where she finds Jimmy drunk on the doorstep and sweeps him away to the marriage bureau. Meanwhile, Steve's secretary, Miss Olmstead, also sees Judy's picture in the paper and identifies her as the dancer who had come to audition. That night, Steve attends Judy's performance at which the audience is given a lecture by Judy about the evils of viewing women as objects. This is followed by a fight between her and Bubbles over Jimmy. Hauled into night court, Judy is sentenced to ten days in jail but is bailed out by Steve. The next day, when Judy goes to meet her benefactor, she recognizes Steve, who hails her as his new discovery and promises to make her a star.

Instruction: 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.


Question: Passage: In the Old West, a calm man named Tommy, known as "White Knife" by the Native American tribe who raised him after his mother was murdered is to marry a member of the tribe named Smoking Fox. Following a run-in with a deranged, Native American-racist food proprietor named Clem and the Left-Eye Gang (who have all removed their right eyes to join) led by Will Patch, Tommy is visited by a bank robber named Frank Stockburn who claims to be Tommy's biological father. Tommy explains to Frank that his mother was shot by a man with a tattooed hand when she was escorting him to school during his childhood. Frank also tells Tommy that he is dying of consumption and had amassed $50,000 which he buried in a meadow next to a pine tree and is offering to Tommy and the Natives. The next day, a group of bandits with connections to Frank come to the village, led by the ruthless Cicero who wants Frank to give them his "big score" he gained a while back. Frank has the bandits kidnap him so he can lead them to the $50,000 at the so-called "Singing Windmill", in return for the bandits not attacking Tommy or the Indians. With no time to search the meadow and find the money, and to live to his tribe's standards, Tommy decides to resort to stealing from dishonorable persons (corrupt politicians, racist bankers, and thugs alike) to obtain the amount needed and save his father. During his quest, Tommy discovers that he has 5 half-brothers: Mexican burro rider Ramon whose innkeeper mother had a fling with Frank; mentally challenged yet happy-go-lucky Lil' Pete whose strong neck makes him immune to hanging; feral mountain-man Herm who speaks incomprehensibly while having helped his mother sell their moonshine.

Passage: Forced to give up his land and his only home, cantankerous Texas rancher Red Bovie isn't about to go quietly to the dismal trailer park that's all he can now afford, and instead goes off with his grandson Gally (son of his long-estranged son Jimmy) for a road trip to Old Mexico. They pick up two hitch-hikers who have stolen over $150,000 in drug money. But after Red drives off without them, unbeknownst to him the money remains in the car. They arrive in Mexico, still pursued by the drug dealers, who are pursued in turn by another hit-man looking to recover the stolen money. Red and Gally enjoy the town's attractions during the Mexican festival of the dead. As night falls, they visit a brothel where Red dances with the madame. They later meet a singer named Patty Wafers who is down on her luck. She is immediately attracted to Red's fearless and outrageous behavior. Meanwhile, the hit-man kills the American drug dealers and is now in pursuit of Red. Red discovers the money and desires to keep it so that he can have a better life than the one promised by the trailer park. Patty tries to help them return undetected across the border with the money, but the hit-man catches up with them and takes it. They pursue him, then they pursue another hit-man who has taken the money in turn. As Red and Patty's affection grows, Red begins to lose interest, but Gally, seeking his identity after the death of his father, takes up the pursuit in his place. They eventually overpower the second hit man and recover the money. Patty invites Red to live with her in her small town where she was born in northern Mexico. He accepts and is happy to go with her, knowing that with $150,000, they will live like royalty. As they part ways and Gally returns to the U.S., Red tells Gally that he has "found himself a grandson".

Passage: Jess Wade, a former member of a gang of outlaws led by Vince Hackett, was led to believe that an old flame, Tracy Winters, wanted to meet him in a seedy Mexican saloon.  Jess saw Billy Roy Hackett, Vince's younger brother, summoning Vince and the other members of the gang into the saloon, and realized he was being set up.  Jess ordered the bar patrons to leave before a shootout ensued.  Making a break for the door, Jess was stopped by Gunner, another gang member, and was forced to relinquish his gun and to go with them to their hideout in the mountains.  Vince later told him that the gang had stolen a gold-plated cannon that was used by Emperor Maximilian in his ill-fated fight against popular Mexican leader Benito Juarez.  Vince informed him that, according to a wanted poster, Jess was in the gang who stole the cannon and had sustained a neck wound as a result of being shot by one of the guards.
Ordering his men to subdue Jess on the ground, Vince used a branding iron to burn his neck.  They took his horse, leaving him stranded.  He captured a wild horse in the desert and saddle-broke it.  The gang's motive was to force a ransom from the town they stole the cannon from, but the gang also used the cannon to hold the townspeople at bay.  Only Wade can save the people from his former gang.

Instruction: 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.


Question:
Passage: Chiyo Sakamoto, a young girl from a poverty-stricken fishing village, is sold along with her older sister Satsu into a life of servitude by her aging father. Chiyo is taken in by Kayoko Nitta, the Mother (proprietress) of a geisha house in Gion, one of the most prominent geisha districts in Kyoto, whereas Satsu is sold to a prostitution brothel.
At the okiya, Chiyo meets another young girl named Pumpkin, the cranky Granny, the gentler Auntie, and the okiya's only working geisha, Hatsumomo, who is famous for her breathtaking beauty. Chiyo soon discovers Hatsumomo is secretly a cruel and jealous woman that views Chiyo as a potential rival due to her striking bluish-gray eyes, along with being a change in Mother's future financial dependence. Hatsumomo then goes out of her way to deliberately make Chiyo's new life miserable by having her take the blame for everything and intentionally withholding information of her sister's whereabouts in the pleasure district. However, Auntie is aware of this and warns Chiyo against trusting and angering Hatsumomo, given her history with the ill-mannered geisha.

Passage: As described in a film magazine, Sheila Hepburn, the half-sister of Alan Hepburn, is the daughter of a Japanese mother. While visiting Alan, who works in Tokyo, she attends a festival with her Japanese maid while wearing a Japanese kimono. There she meets the wealthy Arai Takada, who is taken by the mysterious woman. Alan has dishonored and betrayed O'Mitsu, and her brother Arai plans a terrible revenge. Alan loses heavily at cards to Arai and, to forget his losses, accompanies Arai to his country home. There Alan is about to be thrust into a pool of quicksand to die when Sheila appears, having been warned of Arai's plans. Dismayed that the woman he met at the festival is Alan's sister, Arai sees that she and Alan do not meet, but later agrees to release her brother as Sheila wins Arai's love and respect. At that moment Alan appears, having escaped from his prison, and strikes Arai down. Sheila bursts into tears and runs to the fallen man, and Alan, seeing his sister responding to the "call of the east," departs.

Passage: Right before closing time Karen Kirsten and Jenny Johnsen, who work as waitresses at an Oslo night club, get an offer from the National Studios assistant director Jensen. He promises to make them both famous, and wants to give them screen test auditions. They accept the offer, and the very next day the girls show up at the film studio to try out for roles in the company's new production "Countess of Monte Cristo". There are two roles available: the countess herself and her maid.
However, the director, Mr. Hansen, manages to insult the young women gravely, and they leave the studios in anger, taking one of the studio's fancy cars as their ride while still wearing the costumes from the production. They drive to the luxurious Hotel Trollheimen, and use the costumes to lure the management into thinking they really are a countess and her maid. On the outside they encounter army Lt. Paul Von Cram, who is so captivated by their appearance - especially Karen's - that he offers to carry their suitcases up to their hotel suite. Because of this the two women mistake Paul for a bellboy.
Paul decides to cancel his imminent date with socialite woman Peg Manning, since he now has his eyes set on Karen. He then sends Karen a note at the hotel, asking her to meet "a lieutenant" at the hotel bar. Karen is intrigued by this and has no idea that it is Paul she is meeting. She makes a makeshift dress out of the curtains in the suite and goes down to meet the lieutenant. Arriving at the bar she instantly realises her earlier mistake.
Jenny discovers that they have been listed as thieves and wanted refugees from the law in a newspaper article. In a desperate attempt to hide this from the people at the hotel she buys every available newspaper she can find.

Instruction: 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.


Question:
Passage: During Tool's post-Ænima hiatus to deal with their legal issues, Keenan began working with Billy Howerdel, Tool's guitar tech through the Ænima tour, on a different project. The supergroup they formed, A Perfect Circle, began performing in 1999 and released its first album Mer de Noms in 2000. They released a successful follow-up in 2003 titled Thirteenth Step, a reference to twelve-step programs (many of the songs were written from the perspective of recovery). Both albums were eventually certified platinum. Their subsequent 2004 album, eMOTIVe, was primarily composed of covers, except for the singles "Counting Bodies Like Sheep to the Rhythm of the War Drums"—a song inspired by "Pet" that was originally released on Thirteenth Step—and "Passive". Keenan later characterized the record as a political album with which he "tested the waters" and was subsequently "crucified" for it because of the content. It was certified gold the month after its release. That same year they released the DVD and CD set entitled aMOTION, which was certified platinum within a month of its release.
Howerdel reported in a May 2006 interview with MTV that the supergroup's work was concluded for the time being. After more than two years since the band's last release, Keenan was asked about the status of A Perfect Circle during an interview with Revolver. He stated:
The real problem with running Tool and A Perfect Circle at the same time was they both operate the same way. They're both live touring bands with a label, still working under the old contract mentality. So I thought it was time to let A Perfect Circle go for now and let Billy explore himself. It's tough for a guy who went from being a guitar tech [for Tool] to being in a band with a pretentious, famous singer and having to live in that shadow. It was important for Billy to go and do his own thing and really explore his own sound and let people hear what he has to say and how he would do it on his own, and then we'll get back and do some A Perfect Circle stuff.

Passage: After two more EPs on Kompakt, the Orb (now composed of only Paterson and Fehlmann) released Okie Dokie It's The Orb on Kompakt, which featured new material in addition to tweaked versions of their previous Kompakt output. By this stage, Allmusic observed, Thomas Fehlmann had become the primary creative figure in the Orb, "inhibiting Alex Paterson's whimsical impulses". Because of this, Okie Dokie was considerably more focused and less "goofy" than Cydonia and Bicycles & Tricycles. Fehlmann's trademark hypnotic loops and delays made him the centre of Okie Dokie production and, according to Pitchfork Media, made it "difficult to say where [Paterson] is in the picture". The Orb's releases with Kompakt gained them back much of their musical credibility with the press and showed that they could "age gracefully".In August 2006, the founders of the Orb - Paterson and Cauty - released Living in a Giant Candle Winking at God, their debut album as the Transit Kings with Guy Pratt and Pratt's associate, Dom Beken. The album featured appearances from Smiths' guitarist Johnny Marr and comedian Simon Day. Beken described Living in a Giant Candle Winking at God as "self-consciously musically written and less sample-based" compared to the members' previous work. Living had been in production since 2001, but due to members' other obligations, it was delayed for several years. The album received mixed critical reactions, with reviewers such as The Sun comparing the album favourably to the music of DJ Shadow and Röyksopp while other publications, such as The Times, called it "Orb-lite" and proclaimed it to be "Deep Forest-style sludge". Soon after the album's release, Cauty left the Transit Kings on "extended leave", leaving the project in indefinite limbo. Paterson and Beken reunited in 2008 as High Frequency Bandwidth, an ambient hip hop group on the Malicious Damage label.

Passage: After moving to Los Angeles, Keenan met Adam Jones who had in college heard him singing on a demo. Impressed with Keenan's vocals, Jones suggested that they form a band. Reluctant, Keenan eventually agreed and, in 1990, Tool was formed. Fronted by Keenan, the eventual lineup included guitarist Jones; his neighbor, drummer Danny Carey; and bassist Paul D'Amour, who would later be replaced by Justin Chancellor.
Tool signed to Zoo Entertainment in November 1991 and released the Opiate EP the following year. To support this release, the band toured with Fishbone and Rage Against the Machine.
Fifteen years after the band's formation, Tool had acquired what Dan Epstein of Revolver described as a devoted "cult" following, and in May 2006 the band released 10,000 Days, an album in which Keenan sang about more personal issues in contrast to previous attempts to inspire change. His mother, who inspired the song "Jimmy" on Ænima, also served as the inspiration for "Jambi", and the two-part song "Wings for Marie" and "10,000 Days (Wings for Marie, Pt 2)", which deals with her 2003 death after 27 years, or around 10,000 days, of suffering. The album sold 564,000 copies in its opening week in the U.S. and was No. 1 on the Billboard 200 charts. However, 10,000 Days was received less favorably by critics than its predecessor Lateralus had been.Following 10,000 Days, Tool has one album remaining to fulfill the obligation of its record contract. Though there is little information available on plans for this album, the band is steadily working towards its fifth studio release.  Tool has worked around Keenan and his side projects since 1999, starting with the creation of A Perfect Circle, which has led to several years between projects. Regarding the future of Tool, Keenan stated in a 2007 interview with Spin, "We'll make music together until one of us is dead."On March 24, 2009, a summer tour was announced on Tool's website, and in a March 26 press release Tool was confirmed as a headliner for the second annual Mile High Music Festival in Commerce City, Colorado, with Widespread Panic and The Fray. Tool also headlined Lollapalooza 2009 in Chicago, Illinois.On December 12, 2012, Tool's webmaster posted on the band website:.

Instruction: 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.


Question: Passage: Wallace was born in St. Mary's Hospital in the Brooklyn borough of New York City, on May 21, 1972, the only child of Jamaican parents, Voletta Wallace, a preschool teacher, and Selwyn George Latore, a welder and politician. His father left the family when Wallace was two years old, and his mother worked two jobs while raising him. Wallace grew up in Clinton Hill, on 226 St. James Place, near the border of Bedford-Stuyvesant, Brooklyn.At Queen of All Saints Middle School, Wallace excelled, winning several awards as an English student. He was nicknamed "Big" because of his overweight size by age 10. He said he started dealing drugs when he was around the age of 12. His mother, often away at work, did not know of his drug dealing until he was an adult. Wallace began rapping as a teenager, entertaining people on the streets and performed with local groups the Old Gold Brothers and the Techniques.At his request, Wallace transferred from Bishop Loughlin Memorial High School to George Westinghouse Career and Technical Education High School, where future rappers DMX, Jay-Z and Busta Rhymes were also attending. According to his mother, Wallace was still a good student but developed a "smart-ass" attitude at the new school. At seventeen, Wallace dropped out of school and became more involved in crime. In 1989, he was arrested on weapons charges in Brooklyn and sentenced to five years' probation. In 1990, he was arrested on a violation of his probation. A year later, Wallace was arrested in North Carolina for dealing crack cocaine. He spent nine months in jail before making bail.

Passage: In August 1995, Wallace's protégé group, Junior M.A.F.I.A. ("Junior Masters At Finding Intelligent Attitudes"), released their debut album Conspiracy. The group consisted of his friends from childhood and included rappers such as Lil' Kim and Lil' Cease, who went on to have solo careers. The record went Gold and its singles, "Player's Anthem" and "Get Money", both featuring Wallace, went Gold and Platinum. Wallace continued to work with R&B artists, collaborating with R&B groups 112 (on "Only You") and Total (on "Can't You See"), with both reaching the top 20 of the Hot 100. By the end of the year, Wallace was the top-selling male solo artist and rapper on the U.S. pop and R&B charts. In July 1995, he appeared on the cover of The Source with the caption "The King of New York Takes Over", a reference to his Frank White alias from the 1990 film King of New York. At the Source Awards in August 1995, he was named Best New Artist (Solo), Lyricist of the Year, Live Performer of the Year, and his debut Album of the Year. At the Billboard Awards, he was Rap Artist of the Year.In his year of success, Wallace became involved in a rivalry between the East and West Coast hip hop scenes with Shakur, now his former friend. In an interview with Vibe in April 1995, while serving time in Clinton Correctional Facility, Shakur accused Uptown Records' founder Andre Harrell, Sean Combs, and Wallace of having prior knowledge of a robbery that resulted in him being shot five times and losing thousands of dollars worth of jewelry on the night of November 30, 1994. Though Wallace and his entourage were in the same Manhattan-based recording studio at the time of the shooting, they denied the accusation. Wallace said: "It just happened to be a coincidence that he [Shakur] was in the studio. He just, he couldn't really say who really had something to do with it at the time. So he just kinda' leaned the blame on me." In 2012, a man named Dexter Isaac, serving a life sentence for unrelated crimes, claimed that he attacked Shakur that night and that the robbery was orchestrated by entertainment industry executive and former drug trafficker, James Rosemond.Following his release from prison, Shakur signed to Death Row Records on October 15, 1995. This made Bad Boy Records and Death Row business rivals, and thus intensified the quarrel.

Passage: After being released from jail, Wallace made a demo tape called "Microphone Murderer", under the name Biggie Smalls, a reference to a character in the 1975 film Let's Do It Again as well as his stature; he stood at 6 feet 3 inches (1.91 m) and weighed 300 to 380 lb (140–170 kg) according to differing accounts. The tape was reportedly made with no serious intent of getting a recording deal. However, it was promoted by New York-based DJ Mister Cee, who had previously worked with Big Daddy Kane, and in 1992 it was heard by the editor of The Source.In March 1992, Wallace was featured in The Source's Unsigned Hype column, dedicated to aspiring rappers, and made a recording off the back of this success. The demo tape was heard by Uptown Records A&R and record producer Sean Combs, who arranged for a meeting with Wallace. He was signed to Uptown immediately and made an appearance on label mates Heavy D & the Boyz's "A Buncha Niggas" (from the album Blue Funk). Soon after Wallace signed his recording contract, Combs was fired from Uptown and started a new label, Bad Boy Records. Wallace followed and signed to the label in mid-1992.On August 8, 1993, Wallace's longtime girlfriend gave birth to his first child, T'yanna. Wallace had split with the girlfriend some time before T'yanna's birth. Despite having dropped out of high school himself, Wallace wanted his daughter to complete her education. He promised her "everything she wanted", saying that if his mother had promised him the same he would have graduated at the top of his class. He continued selling drugs after the birth to support his daughter financially. Once Combs discovered this, he forced Wallace to quit.Later in the year, Wallace, recording as the Notorious B.I.G., gained exposure after featuring on a remix to Mary J. Blige's single "Real Love". He recorded under this name for the remainder of his career, after finding the original moniker "Biggie Smalls" was already in use. "Real Love" peaked at No. 7 on the Billboard Hot 100 chart and was followed by a remix of Blige's "What's the 411?". He continued this success, to a lesser extent, on remixes with Neneh Cherry ("Buddy X") and reggae artist Super Cat ("Dolly My Baby", also featuring Combs) in 1993. In April 1993, his solo track, "Party and Bullshit", appeared on the Who's the Man? soundtrack. In July 1994, he appeared alongside LL Cool J and Busta Rhymes on a remix to label mate Craig Mack's "Flava in Ya Ear", which reached No. 9 on the Billboard Hot 100.

Instruction: 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.


Question:
Passage: Burges played an important role in the renaissance of High Victorian stained glass. The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement." In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture" and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."
The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match." He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators." As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz. Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".

Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles.
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.

Passage: Burges inspired considerable loyalty within his team of assistants, and his partnerships were long-lived. John Starling Chapple was the office manager, joining Burges's practice in 1859. It was Chapple, designer of most of the furniture for Castell Coch, who completed its restoration after Burges's death. Second to Chapple was William Frame, who acted as clerk of works. Horatio Walter Lonsdale was Burges's chief artist, contributing extensive murals for both Castell Coch and Cardiff Castle. His main sculptor was Thomas Nicholls who started with Burges at Cork, completing hundreds of figures for Saint Fin Barre's Cathedral, worked with him on his two major churches in Yorkshire, and undertook all of the original carving for the Animal Wall at Cardiff.William Gualbert Saunders joined the Buckingham Street team in 1865 and worked with Burges on the development of the design and techniques of stained-glass manufacture, producing much of the best glass for Saint Fin Barre's. Ceccardo Egidio Fucigna was another long-time collaborator who sculpted the Madonna and Child above the drawbridge at Castell Coch, the figure of St John over the mantelpiece in Lord Bute's bedroom at Cardiff Castle and the bronze Madonna in the roof garden. Lastly, there was Axel Haig, a Swedish-born illustrator, who prepared many of the watercolour perspectives with which Burges entranced his clients. Crook calls them "a group of talented men, moulded in their master's image, art-architects and medievalists to a man – jokers and jesters too – devoted above all to art rather than to business.".

Instruction: 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.


Question: Passage: Houston called for a Council of War.  The officers voted that the families should be ordered to leave, and the troops would cover the retreat. By midnight, less than an hour after Dickinson had arrived, the combined army and civilian population began a frantic move eastward, leaving behind everything they could not immediately grab and transport. Much of the provisions and artillery were left behind, including two 24-pounder cannons. Houston ordered Salvador Flores along with a company of Juan Seguin's men to form the rear guard to protect the fleeing families.  Couriers were sent to other towns in Texas to warn that the Mexican army was advancing.The retreat took place so quickly that many of the Texian scouts did not fully comprehend it until after the town was evacuated.  Houston ordered Karnes to burn the town and everything in it so nothing would remain to benefit the Mexican troops.  By dawn, the entire town was in ashes or flames.Volunteers from San Felipe de Austin who had been organized under Captain John Bird on March 5 to reinforce the men at the Alamo had been en route to San Antonio de Béxar on March 13 when approximately 10 miles (16 km) east of Gonzales they encountered fleeing citizens and a courier from Sam Houston. Told of the Alamo's fall, Bird's men offered assistance to the fleeing citizens and joined Houston's army at Bartholomew D. McClure's plantation on the evening of March 14.At Washington-on-the-Brazos, the delegates to the convention learned of the Alamo's fall on March 13. The Republic's new ad interim government was sworn in on March 17, with a department overseeing military spy operations, and adjourned the same day. The government then fled to Groce's Landing where they stayed for several days before moving on to Harrisburg on March 21 where they established temporary headquarters in the home of widow Jane Birdsall Harris.King's men at Refugio had taken refuge in Mission Nuestra Señora de la Rosario when they were subsequently attacked by Urrea's forces.  Fannin sent 120 reinforcements under William Ward, but the March 14 Battle of Refugio cost 15 Texian lives.  Ward's men escaped, but King's men were captured and executed on March 16.

Passage: The Runaway Scrape events took place mainly between September 1835 and April 1836, and were the evacuations by Texas residents fleeing the Mexican Army of Operations during the Texas Revolution, from the Battle of the Alamo through the decisive Battle of San Jacinto. The ad interim government of the new Republic of Texas and much of the civilian population fled eastward ahead of the Mexican forces. The conflict arose after Antonio López de Santa Anna abrogated the 1824 constitution of Mexico and established martial law in Coahuila y Tejas. The Texians resisted and declared their independence. It was Sam Houston's responsibility, as the appointed commander-in-chief of the Provisional Army of Texas (before such an army actually existed), to recruit and train a military force to defend the population against troops led by Santa Anna.
Residents on the Gulf Coast and at San Antonio de Béxar began evacuating in January upon learning of the Mexican army's troop movements into their area, an event that was ultimately replayed across Texas. During early skirmishes, some Texian soldiers surrendered, believing that they would become prisoners of war — but Santa Anna demanded their executions. The news of the Battle of the Alamo and the Goliad massacre instilled fear in the population and resulted in the mass exodus of the civilian population of Gonzales, where the opening battle of the Texian revolution had begun and where, only days before the fall of the Alamo, they had sent a militia to reinforce the defenders at the mission. The civilian refugees were accompanied by the newly forming provisional army, as Houston bought time to train soldiers and create a military structure that could oppose Santa Anna's greater forces. Houston's actions were viewed as cowardice by the ad interim government, as well as by some of his own troops. As he and the refugees from Gonzales escaped first to the Colorado River and then to the Brazos, evacuees from other areas trickled in and new militia groups arrived to join with Houston's force.
The towns of Gonzales and San Felipe de Austin were burned to keep them out of the hands of the Mexican army. Santa Anna was intent on executing members of the Republic's interim government, who fled from Washington-on-the-Brazos to Groce's Landing to Harrisburg and New Washington. The government officials eventually escaped to Galveston Island, and Santa Anna burned the towns of Harrisburg and New Washington when he failed to find them. Approximately 5,000 terrified residents of New Washington fled from the Mexican army. After a little over a month of training the troops, Houston reached a crossroads where he ordered some of them to escort the fleeing refugees farther east while he took the main army southeast to engage the Mexican army. The subsequent Battle of San Jacinto resulted in the surrender of Santa Anna and the signing of the Treaties of Velasco.

Passage: By October 9, Cos had taken over San Antonio de Béxar. Stephen F. Austin sent an advance scout troop of 90 men under James Bowie and James Fannin to observe the Mexican forces. While taking refuge at Mission Concepción on October 28, they repelled an attack by 275 Mexicans under Domingo Ugartechea during the battle. Austin continued to send troops to Béxar. Bowie was ordered on November 26 to attack a Mexican supply train alleged to be carrying a payroll. The resulting skirmish became known as the Grass Fight, after it was discovered that the only cargo was grass to feed the horses. When Austin was selected to join Branch T. Archer and William H. Wharton on a diplomatic mission to seek international recognition and support, Edward Burleson was named as commander. On December 5, James C. Neill began distracting Cos by firing artillery directly at the Alamo, while Benjamin Milam and Frank W. Johnson led several hundred volunteers in a surprise attack.  The fighting at the Siege of Béxar continued until December 9 when Cos sent word he wanted to surrender. Cos and his men were sent back to Mexico, but would later unite with Santa Anna's forces.Approximately 300 of the Texian garrison at Béxar departed on December 30 to join Frank W. Johnson and James Grant on the Matamoros Expedition, in a planned attack to seize the port for its financial resources. Proponents of this campaign were hoping Mexican Federalists would oust Santa Anna and restore the 1824 constitution. When Sesma crossed the Rio Grande, residents of the Gulf Coast began fleeing the area in January 1836. Santa Anna ordered General José de Urrea on February 16 to secure the Gulf Coast. About 160 miles (260 km) north of Matamoros at San Patricio, Urrea's troops ambushed Johnson and members of the expedition on February 27 at the Battle of San Patricio. Sixteen Texians were killed, six escaped, and 21 were taken prisoner. Urrea's troops then turned southwest by some 26 miles (42 km) to Agua Dulce Creek and on March 2 attacked a group of the expedition led by Grant, killing all but 11, six of whom were taken prisoner. Five of the men escaped the Battle of Agua Dulce and joined Fannin who wanted to increase the defense force at Goliad.

Instruction: 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.


Question:
Passage: The story begins in 1957 in the star-filled skies above California's Mojave Desert. It is a special night for noted astronomer Ted Lewis, who is preparing a special anniversary dinner with steaks for his beautiful, adoring wife Lana while observing the annual meteor shower of the Perseids. In another part of town, Tammy, a waitress at small local diner with big plans for the future, looks out her window and is excited to see a shooting star, which she takes as a good sign for her dreams.
Suddenly "something shoots overhead and crashes" in the nearby mountains. Assuming it is a fallen meteorite, Ted wants to investigate in person. He reaches the supposed meteorite, which turns out to be an alien spaceship. Then his body is usurped by Urp, a well-meaning, tall, and metallic alien. Urp has discovered that the other passenger of his ship, the one-eyed monster known as Ghota has escaped. He needs to retrieve it and uses a human body to blend in with the locals.The Ghota consumes people in order to grow, multiply, and conquer. Its unquenchable appetite could mean the end of life on Earth. Urp is the only one who knows how to stop the hideous extraterrestrial. He enlists the aid of Tammy, the only human in town willing to believe and trust in his mission. The local police - including Chief Dawson and Officer Vern - are confirmed skeptics and offer little help. Together, Urp and Tammy must hunt down the Ghota and neutralize it before it consumes all the local inhabitants and uses the human fuel to multiply and conquer the world.
Urp and Tammy eventually fall in love. But at the finale, he is compelled to return to his home in space and she is left longing for his company. While she remains on Earth, she finally leaves the small town to go in search of her own destiny.

Passage: Just outside the town of Crescent Cove, Mike Tobacco and his girlfriend Debbie Stone are parked with other couples at the local lovers' lane when they spot a strange glowing object falling to Earth. Nearby, farmer Gene Green also spies the object, and believing it to be Halley's Comet, he ventures into the woods to find the impact site. He instead stumbles upon a large circus tent-like structure, and he and his dog are abruptly captured by mysterious clown-like aliens, the "Klowns". Shortly thereafter, Mike and Debbie arrive to investigate for themselves. Entering the structure, they discover a complex interior with elevators and various bizarre rooms. They soon find a gelatinized Green encased in a cotton candy-like cocoon and are spotted by a klown, who shoots popcorn at them from a large gun. The couple flees, pursued by a group of klowns and a balloon animal dog that comes to life.
Narrowly escaping, Mike and Debbie travel to the police station to report the incident to Debbie's ex-boyfriend, Deputy Dave Hanson, and his curmudgeonly partner, Deputy Curtis Mooney. The skeptical Mooney believes the story to be a hoax. After taking Debbie home, Mike and Dave return to the woods, only to find the circus tent has vanished, leaving a large crater in its place. They then travel to the lovers' lane, only to find all the cars abandoned and covered in a cotton candy-like substance. Back in town, the klowns arrive and begin capturing townspeople in cocoons using rayguns that resemble toys. Several klowns perform pranks and mock circus acts, all resulting in the deaths of several onlookers.

Passage: In his New York City apartment, a young boy named Josh Morrison stares through his telescope at an object falling from the sky. It is a golf-ball-sized metal ball which flies through the window and lands in his fishbowl, quickly draining the water along with the goldfish. He decides to show it at his school's science class presentation.
Some months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human, controlled by 100 tiny humanoid aliens. Its Captain (also played by Murphy) pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 (Ed Helms), and researcher Number 3 (Gabrielle Union). The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the "ship" act like a human. A superstitious cop named Dooley desperately searches for the alien.
The aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. After the spaceship is hit by Josh's single mother, Gina Morrison, while driving, the Captain decides to befriend Gina and Josh. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation. After having breakfast with Gina, "Dave" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully (Nicholas Berman). With Josh's help, Dave takes the metal ball back from the bully.

Instruction: 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.


Question: Passage: Amidst mourning with her family, she focused on work to deal with the grief, avoiding any news coverage of her sibling's death. She commented, "it's still important to face reality, and not that I'm running, but sometimes you just need to get away for a second." During this time, she ended her seven-year relationship with Jermaine Dupri.Several months later, Jackson performed a tribute to Michael at the 2009 MTV Video Music Awards, performing their duet "Scream". MTV stated "there was no one better than Janet to anchor it and send a really powerful message." The performance was lauded by critics, with Entertainment Weekly affirming the rendition "as energetic as it was heartfelt".Jackson's second hits compilation, Number Ones (retitled The Best for international releases), was released in November 2009. For promotion, she performed a medley of hits at the American Music Awards, Capital FM's Jingle Bell Ball at London's O2 arena, and The X-Factor. The album's promotional single "Make Me", produced with Rodney "Darkchild" Jerkins, debuted in September. It became Jackson's nineteenth number one on the Hot Dance Club Songs chart, making her the first artist to have number-one singles in four separate decades.Later that month, Jackson chaired the inaugural benefit of amfAR, The Foundation for AIDS Research, held in Milan in conjunction with fashion week. The foundation's CEO stated "We are profoundly grateful to Janet Jackson for joining amfAR as a chair of its first event in Milan.... She brings incomparable grace and a history of dedication to the fight against AIDS." The event raised a total of $1.1 million for the nonprofit organization.

Passage: In late 2008, Fortress Investments threatened to foreclose on Neverland Ranch, which Jackson had used as collateral for loans running into tens of millions of dollars. Fortress sold Jackson's debts to Colony Capital LLC. In November, Jackson transferred Neverland Ranch's title to Sycamore Valley Ranch Company LLC, a joint venture between Jackson and Colony Capital LLC. The deal earned him $35 million. Jackson arranged to sell a large collection of memorabilia through Julien's Auction House. The auction was scheduled to take place between April 22 and 25, 2009. An exhibition of the lots opened, but Jackson canceled the auction.In March 2009, at a press conference at London's O2 Arena, Jackson announced a series of comeback concerts titled This Is It, against a background of speculation about his finances and his health. The shows were to be his first major tour since the HIStory World Tour finished in 1997. Jackson suggested he would retire after the shows. The initial plan was for 10 concerts in London, followed by shows in Paris, New York City and Mumbai. Randy Phillips, president and chief executive of AEG Live, predicted that the first 10 dates would earn Jackson £50 million. The London residency was increased to 50 dates after record-breaking ticket sales: over one million were sold in less than two hours. The concerts were to run from July 13, 2009 to March 6, 2010. Jackson rehearsed in Los Angeles in the weeks leading up to the tour under the direction of choreographer Kenny Ortega. Most rehearsals took place at the Staples Center, owned by AEG.

Passage: Control is the third studio album by American recording artist Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music. The album is also notable for being what originated the style and genre that came to be known as new jack swing.Containing autobiographical themes, a majority of the album's lyrics came as the result of a series of changes in her life: a recent annulment of her marriage to singer James DeBarge, severing her business affairs from her father and manager Joseph and the rest of the Jackson family, hiring the A&M executive John McClain as her new management, and her subsequent introduction to Jam and Lewis. The album has been praised by critics as both an artistic feat and as a personal testament of self-actualization. It has also been regarded as a template upon which numerous female artists have modeled their careers, particularly black women.
Following its release, Control became Jackson's first album to top the Billboard 200 albums chart in the United States and five of its commercial singles—"What Have You Done for Me Lately", "Nasty", "Control", "When I Think of You", and "Let's Wait Awhile"—peaked within the top five of the Billboard Hot 100 singles chart. Music videos created to promote the singles showcased her dancing ability and became a catalyst for MTV's evolving demographics. The album went on to receive several accolades, including a nomination for the Grammy Award for Album of the Year and winning Producer of the Year, Non-Classical for Jam and Lewis in 1987. It is listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time, in addition to being included in several publications "best of" album lists. It has been certified fivefold platinum by the Recording Industry Association of America (RIAA) and has sold more than 10 million copies worldwide. The album made Billboard Hot 100 history, breaking brother Michael's record for longest continuous run on the Hot 100 with singles from one album, a record 65 consecutive weeks.

Instruction: 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.


Question:
Passage: John Chisum, a virtuous, patriarchal land baron, locks horns with greedy Lawrence Murphy, who will stop at nothing to get control of the trade and even the law in Lincoln County, New Mexico Territory.
Chisum is an aging rancher with an eventful past and a paternalistic nature towards his companions and community. Murphy, a malevolent land developer, plans to take control of the county for his own personal gain.
The story begins with Murphy's men tipping off Mexican rustlers who plan to steal Chisum's horses. Chisum and his sidekick James Pepper stop the bandits with help from a newcomer to the area, William H. Bonney, also known as "Billy the Kid". A notorious killer, Billy has been given a chance to reform by Chisum's philanthropic British neighbor, rancher Henry Tunstall. Billy also falls for Chisum's newly arrived niece, Sallie.
Murphy is buying up all the stores in town and using his monopoly to push up the prices. He appoints his own county sheriff and deputies. He also brings in a lawyer, Alexander McSween, whose principles lead him to switch sides and seek work with Chisum and Tunstall. The two ranchers set up their own bank and general store in town under McSween's control.
Chisum's land and cattle remain targets. Murphy's men attempt to steal Chisum's cattle before he can sell them to the United States Army. Chisum's ranch hands are warned by Pat Garrett, a passing buffalo hunter. Garrett agrees to help Chisum and soon befriends Bonney. Together they foil an attack by Murphy's men on the wagons bringing in provisions for the new store.

Passage: Big Enos and Little Enos offer retiring Sheriff Buford T. Justice a wager, betting $250,000 against his badge on his ability to transport a large stuffed fish from Florida to Texas. Buford picks up the fish and starts driving with his son, Junior.
The Enoses set many traps, but Buford dodges them, so they try to hire the Bandit to stop him. Deciding that the original Bandit is too hard to manage, they hire the Snowman to act as the Bandit. The new Snowman/Bandit parks his truck so he can drive a black and gold 1983 Pontiac Trans Am.
The Bandit picks up Dusty, who quits her job at a used car dealership. The Bandit catches up with Buford and steals the fish. Buford pursues the Bandit, with another local officer who attempts to take charge of the situation. Both police cars are disabled in the chase.
Buford catches up after the Bandit and Dusty stop at a redneck bar to eat. The chase then creates mass chaos in a local town. The Bandit escapes when an 18-wheeler blocks the alleyway where the Bandit ran through on foot. While trying to get the truck out, Buford's car is towed, but he reverses the car and escapes. The tow truck operator chases him, with Junior spinning on the hook. Buford makes the truck flip over, sending Junior flying. Other cars crash into the pile-up.
Buford chases the Bandit in the Mississippi Fairgrounds. Buford's car is thrown up on two side wheels by an incline, but he continues the pursuit while driving on two wheels.
At night, the Bandit and Dusty stop at a hotel, where people are involved in sexual acts, some deviant. Buford sees the Bandit's Trans-Am parked there, and searches for the fish, which he finds. Buford thinks he found the Bandit in the sauna, but it turns out to be a muscular woman who bonds with him.

Passage: Cowboy drifter Jim Garry is summoned by his friend, smooth-talking Tate Riling. Garry rides into an Indian reservation and finds himself in the middle of a conflict between a cattle owner and some homesteaders. He meets cattle owner John Lufton, and eventually his daughters Amy and Carol. The Luftons suspect that Garry is on Riling's side and are initially hostile, especially Amy. Garry readily admits that he is going to work for his friend.
Riling tells Garry that he and Indian agent Jake Pindalest have devised an elaborate scheme to force Lufton into selling his herd cheaply. Pindalest has gotten the government to order Lufton to remove his cattle from the reservation in a week. Meanwhile, Riling has organized the homesteaders into blocking the move, conning them into believing that he is working in their best interests. With no other option, Lufton would have to sell his herd at bargain prices or lose everything. Lufton would never sell to Riling, but he would to a stranger like Garry. Pindalest would then see that the government buys the herd at an inflated price. Garry would get $10,000 for his part in the swindle.
Lufton manages to outsmart Riling and move his herd unimpeded, but Riling and his men stampede and scatter the cattle back onto the reservation. It would take several days to gather the herd, more time than Lufton has before the deadline. Garry becomes disgusted when a man is killed in the stampede, and he switches sides. Amy still does not trust him. She suspects Garry of betraying the contents of a letter to Riling, unaware that Carol is enamored with Riling and is the one passing information to him. Eventually, Amy comes to trust (and fall in love with) Garry, especially after he defends her father from two of Riling's men.

Instruction: 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.


Question:
Passage: Mortimer Wheeler was born on 10 September 1890 in the city of Glasgow, Scotland. He was the first child of the journalist Robert Mortimer Wheeler and his second wife Emily Wheeler (née Baynes). The son of a tea merchant based in Bristol, in youth Robert had considered becoming a Baptist minister, but instead became a staunch freethinker while studying at the University of Edinburgh. Initially working as a lecturer in English literature Robert turned to journalism after his first wife died in childbirth. His second wife, Emily, shared her husband's interest in English literature, and was the niece of Thomas Spencer Baynes, a Shakespearean scholar at St. Andrews University. Their marriage was emotionally strained, a situation exacerbated by their financial insecurity. Within two years of their son's birth, the family moved to Edinburgh, where a daughter named Amy was born. The couple gave their two children nicknames, with Mortimer being "Boberic" and Amy being "Totsy".
When Wheeler was four, his father was appointed chief leader writer for the Bradford Observer. The family relocated to Saltaire, a village northwest of Bradford, a cosmopolitan city in Yorkshire, northeast England,  which was then in the midst of the wool trade boom. Wheeler was inspired by the moors surrounding Saltaire and fascinated by the area's archaeology. He later wrote about discovering a late prehistoric cup-marked stone, searching for lithics on Ilkley Moor, and digging into a barrow on Baildon Moor. Although suffering from ill health, Emily Wheeler taught her two children with the help of a maid up to the age of seven or eight. Mortimer remained emotionally distant from his mother, instead being far closer to his father, whose company he favoured over that of other children. His father had a keen interest in natural history and a love of fishing and shooting, rural pursuits in which he encouraged Mortimer to take part. Robert acquired many books for his son, particularly on the subject of art history, with Wheeler loving to both read and paint.In 1899, Wheeler joined Bradford Grammar School shortly before his ninth birthday, where he proceeded straight to the second form. In 1902 Robert and Emily had a second daughter, whom they named Betty; Mortimer showed little interest in this younger sister. In 1905, Robert agreed to take over as head of the London office of his newspaper, by then renamed the Yorkshire Daily Observer, and so the family relocated to the southeast of the city in December, settling into a house named Carlton Lodge on South Croydon Road, West Dulwich. In 1908 they moved to 14 Rollescourt Avenue in nearby Herne Hill. Rather than being sent for a conventional education, when he was 15 Wheeler was instructed to educate himself by spending time in London, where he frequented the National Gallery and the Victoria and Albert Museum.

Passage: In addition to the knighthood bestowed in 1911, Wood's state honours were his appointments as Companion of Honour in 1944, to the Order of the Crown (Belgium; 1920), and Officer of the Legion of Honour (France; 1926). He received honorary doctorates from five English universities and was a fellow of both the Royal Academy of Music (1920) and the Royal College of Music (1923).
Jacobs lists 26 compositions dedicated to Wood, including, in addition to the Vaughan Williams Serenade to Music, works by Elgar, Delius, Bax, Marcel Dupré and Walton. The Poet Laureate, John Masefield, composed a poem of six verses in his honour, entitled "Sir Henry Wood", often referred to by its first line, "Where does the uttered music go?". Walton set it to music as an anthem for mixed choir; it received its first performance on 26 April 1946 at St Sepulchre's, on the occasion of a ceremony unveiling a memorial stained-glass window in Wood's honour.Wood is commemorated in the name of the Henry Wood Hall, the deconsecrated Holy Trinity Church in Southwark, which was converted to a rehearsal and recording venue in 1975. His bust stands upstage centre in the Royal Albert Hall during the whole of each Prom season, decorated by a chaplet on the Last Night of the Proms. His collection of 2,800 orchestral scores and 1,920 sets of parts is now in the library of the Royal Academy of Music. For the Academy he also established the Henry Wood Fund, giving financial aid to students. The University of Strathclyde named a building at its Jordanhill campus after him. His best-known memorial is the Proms, officially "the Henry Wood Promenade Concerts", but universally referred to by the informal short version.His biographer Arthur Jacobs wrote of Wood:
His orchestral players affectionately nicknamed him "Timber" – more than a play on his name, since it seemed to represent his reliability too. His tally of first performances, or first performances in Britain, was heroic: at least 717 works by 357 composers. Greatness as measured by finesse of execution may not be his, particularly in his limited legacy of recordings, but he remains one of the most remarkable musicians Britain has produced.

Passage: On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church. The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47.  The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life". The family initially lived in a semi-detached house called Bron Haul near Betws-y-Coed, on what is now the A5 road.  Two years later he bought a larger property called Coed-y-Celyn on the east bank of the River Lledr, about a mile south of Betws-y-Coed. After moving to Geneva, the family lived for about three years in a rented property called Richemont on the road from Geneva to Chêne-Bougeries. Finally in 1866 the family moved back to Lancaster to live in Scotforth, then a small village to the south of the town.Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church. A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan.  His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery.  "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect. His estate was valued at "under £14,000" (equivalent to £1,290,000 as of 2018).  A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife.

Instruction: 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.


Question:
Passage: The first two songs recorded for the album were "Any Way the Wind Blows" and "Who Are the Brain Police?" When Tom Wilson heard the latter, he realized that The Mothers were not merely a blues band. Zappa remembered "I could see through the window that he was scrambling toward the phone to call his boss—probably saying: 'Well, uh, not exactly a "white blues band", but ... sort of.'" In a 1968 article written for Hit Parader magazine, Zappa wrote that when Wilson heard these songs, "he was so impressed he got on the phone and called New York, and as a result I got a more or less unlimited budget to do this monstrosity." Freak Out! is an early example of the concept album, a sardonic farce about rock music and America. "All the songs on it were about something", Zappa wrote in The Real Frank Zappa Book. "It wasn't as if we had a hit single and we needed to build some filler around it. Each tune had a function within an overall satirical concept."
If you were to graphically analyze the different types of directions of all the songs in the Freak Out! album, there's a little something in there for everybody. At least one piece of material is slanted for every type of social orientation within our consumer group, which happens to be six to eighty. Because we got people that like what we do, from kids six years old screaming on us to play "Wowie Zowie". Like I meet executives doing this and that, and they say, "My kid's got the record, and 'Wowie Zowie''s their favorite song."
... at the time, it was, you know, if you were a good musician, you were a motherfucker, and Mothers was short for collection of motherfuckers. And actually, it was kind of presumptuous to name the band that, because we weren't that good musicians, we were ... But by bar-band standards in the area, we were light-years ahead of our competition, but in terms of real musicianship, I just suppose we were right down there in the swamp.

Passage: The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song Tomorrow Never Knows. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song.

Passage: In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.

Instruction: 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.