1{2 "document_id": "lb_2wikimqa_919cc6b1e482c475dc93740aae3549bc6012d644fb29562c",3 "family": "public_2wikimqa",4 "split": "dev",5 "text": "Passage 1:\nCumulus (disambiguation)\nCumulus is a type of cloud with the appearance of a lump of cotton wool.\nCumulus may also refer to:\n\nComputing and technology\nCumulus (software), digital asset management software developed by Canto Software\nCumulus Corporation, a defunct computer hardware company\nCumulus Networks, a computer software company\n\nGliders\nReinhard Cumulus, glider\nUS Aviation Cumulus, motorglider\n\nOther uses\nCumulus Media, a radio broadcasting company\nCumulus oophorus, cells which surround a human egg after fertilisation\nPassage 2:\nLump of labour fallacy\nIn economics, the lump of labour fallacy is the misconception that there is a finite amount of work—a lump of labour—to be done within an economy which can be distributed to create more or fewer jobs. It was considered a fallacy in 1891 by economist David Frederick Schloss, who held that the amount of work is not fixed.The term originated to rebut the idea that reducing the number of hours employees are allowed to labour during the working day would lead to a reduction in unemployment. The term is also commonly used to describe the belief that increasing labour productivity, immigration, or automation causes an increase in unemployment. Whereas opponents of immigration argue that immigrants displace a country's workers, this is a fallacy, as the number of jobs in the economy is not fixed and immigration increases the size of the economy and may increase productivity, innovation, and overall economic activity, as well as reduce incentives for off-shoring and business closures, thus creating more jobs.The lump of labor fallacy is also known as the lump of jobs fallacy, fallacy of labour scarcity, fixed pie fallacy, and the zero-sum fallacy—due to its ties to zero-sum games. The term \"fixed pie fallacy\" is also used more generally to refer to the idea that there is a fixed amount of wealth in the world. This and other zero-sum fallacies can be caused by zero-sum bias.\n\nImmigration\nThe lump of labour fallacy has been applied to concerns around immigration and labour. Given a fixed availability of employment, the lump of labour position argues that allowing immigration of working-age people reduces the availability of work for native-born workers (\"they are taking our jobs\").However, skilled immigrating workers can bring capabilities that are not available in the native workforce, for example in academic research or information technology. Additionally, immigrating workforces also create new jobs by expanding demand, thus creating more jobs, either directly by setting up businesses (therefore requiring local services or workers), or indirectly by raising consumption. As an example, a greater population that eats more groceries will increase demand from shops, which will therefore require additional shop staff.\n\nEmployment regulations\nAdvocates of restricting working hours regulation may assume that there is a fixed amount of work to be done within the economy. By reducing the amount that those who are already employed are allowed to work, the remaining amount will then accrue to the unemployed. This policy was adopted by the governments of Herbert Hoover in the United States and Lionel Jospin in France, in the 35-hour working week (though in France various exemptions to the law were granted by later centre-right governments).Many economists agree that such proposals are likely to be ineffective, because there are usually substantial administrative costs associated with employing more workers. These can include additional costs in recruitment, training, and management that would increase average cost per unit of output. This overall would lead to a reduced production per worker, and may even result in higher unemployment.\n\nEarly retirement\nEarly retirement has been used to induce workers to accept termination of employment before retirement age following the employer's diminished labour needs. Government support for the practice has come from the belief that this should lead to a reduction in unemployment. The unsustainability of this practice has now been recognised, and the trend in Europe is now towards postponement of the retirement age.In an editorial in The Economist a thought experiment is proposed in which old people leave the workforce in favour of young people, on whom they become dependent for their living through state benefits. It is then argued that since growth depends on having either more workers or greater productivity, the society cannot really become more prosperous by paying an increasing number of its citizens unproductively. The article also points out that even early retirees with private pension funds become a burden on society as they also depend on equity and bond income generated by workers.\n\nArguments in favor of the concept\nThere have been critiques of the idea that the concept is a fallacy. Arguments include that Schloss' concept is misapplied to working hours and that he was originally critiquing workers intentionally restricting their output, that prominent economists like John Maynard Keynes believed shorter working hours could allieviate unemployment, and that claims of it being a fallacy are used to argue against proposals for shorter working hours without addressing the non-economic arguments for them.\n\nSee also\nIndivisibility of labour\nLabour (economics)\nLuddite fallacy\nParable of the broken window\nWorking time\nZero-sum bias\nPassage 3:\nThe Lump of Coal\nThe Lump of Coal is a Christmas short story written by Lemony Snicket and illustrated by Brett Helquist. Originally published in the December 10–12, 2004 issue of the now-defunct magazine USA Weekend, it was re-released as a stand-alone book in 2008. It is meant to parody traditional children's Christmas stories, à la the 1823 poem 'Twas the Night Before Christmas. Though illustrated and relatively short, the book uses vocabulary above that of most children, including the term objets d'art. Many elements of the story are easily recognizable as Snicket-esque to A Series of Unfortunate Events readers, including a culturally intelligent and talented protagonist who is dismissed by many a mumpsimus.\n\nPlot summary\nIt is Christmas time. A living lump of coal falls off a barbecue grill. He wishes for a miracle to happen. The lump of coal is artistic and wants to be an artist. He goes in search of something. First, he finds an art gallery that, he believes, shows art by lumps of coal. But when he comes in, he sadly discovers the art is by humans who use lumps of coal. He then finds a Korean restaurant called Mr. Wong's Korean Restaurant and Secretarial School, but he goes in and discovers that all things used must be 100% Korean (although the owner does not use a Korean name or proper Korean spices). The lump of coal continues down the street and runs into a man dressed like Santa Claus. The lump of coal tells the man about his problem, and the man gets an idea. He suggests he put the lump of coal in Jasper (his bratty son)'s stocking. The son finds it and is ecstatic; he has wanted to make art with coal. So he makes portraits and he and the lump of coal become rich. They move to Korea and open an authentic Korean restaurant, and have a gallery of their art.\n\nSee also\nLemony Snicket bibliography\nPassage 4:\nEnergy value of coal\nThe energy value of coal, or fuel content, is the amount of potential energy coal contains that can be converted into heat. This value can be calculated and compared with different grades of coal and other combustible materials, which produce different amounts of heat according to their grade.\nWhile chemistry provides ways of calculating the heating value of a certain amount of a substance, there is a difference between this theoretical value and its application to real coal. The grade of a sample of coal does not precisely define its chemical composition, so calculating the coal's actual usefulness as a fuel requires determining its proximate and ultimate analysis (see \"Chemical Composition\" below).\n\nChemical composition\nChemical composition of the coal is defined in terms of its proximate and ultimate (elemental) analyses. The parameters of proximate analysis are moisture, volatile matter, ash, and fixed carbon. Elemental or ultimate analysis encompasses the quantitative determination of carbon, hydrogen, nitrogen, sulfur and oxygen within the coal. Additionally, specific physical and mechanical properties of coal and particular carbonization properties \nThe calorific value Q of coal [kJ/kg] is the heat liberated by its complete combustion with oxygen. Q is a complex function of the elemental composition of the coal. Q can be determined experimentally using calorimeters. Dulong suggests the following approximate formula for Q when the oxygen content is less than 10%: \n\nQ = 337C + 1442(H - O/8) + 93S,where C is the mass percent of carbon, H is the mass percent of hydrogen, O is the mass percent of oxygen, and S is the mass percent of sulfur in the coal. With these constants, Q is given in kilojoules per kilogram.\n\nSee also\nCoal assay techniques\nEnergies per unit mass\nHeat of combustion\nPassage 5:\nJugband Blues\n\"Jugband Blues\" is a song by the English psychedelic rock band Pink Floyd, released on their second album, A Saucerful of Secrets, in 1968. Written by Syd Barrett, it was his sole compositional contribution to the album, as well as his last published for the band. Barrett and Pink Floyd's management wanted the song to be released as a single, but were vetoed by the rest of the band and producer Norman Smith. \"Jugband Blues\" is directed towards anyone within Barrett's proximity.\n\nBackground and recording\n\"Jugband Blues\" was written around the same time as \"Vegetable Man\". Both songs contain the same cynical humour, but while on \"Vegetable Man\" Barrett focuses his humour on himself, on \"Jugband Blues\" it is directed towards those around him.\"Jugband Blues\" was either wholly or partly recorded on 19 October 1967 at De Lane Lea Studios. The interview with producer Norman Smith, recorded for the DVD documentary Meddle: A Classic Album Under Review (2007), suggests that at least two separate recording \nsessions took place. The first session was evidently to record the basic Pink Floyd band track, which was possibly cut at EMI's Abbey Road Studios, since Smith clearly states in the interview that he was unable to use Abbey Road for the brass band session, and was obliged to book De Lane Lea Studios in Holborn instead. Smith's description of the De Lane Lea session implies that it was specifically booked to overdub the brass band onto an existing band track, and he makes no mention of the other members of the group, suggesting that only Barrett and the members of the brass band were present for this overdub session.\nAccording to Smith, it had been his initial idea to add a brass arrangement to the basic track, which led Barrett to suggest using a Salvation Army band. Smith recalled that after some considerable effort he was able to contract the eight-piece Salvation Army International Staff Band for the session, which was booked from 7pm to 10pm, but Barrett was almost an hour late arriving. Smith then invited Barrett to outline his musical ideas for the ensemble, but Syd told them he wanted them to simply \"play whatever they want\" regardless of the rest of the group. Dismayed, Smith had to insist on scored parts, and he was obliged to sketch out an arrangement himself -- according to his account, Barrett walked out of the studio shortly afterwards and did not return. In the interview Smith also specifically mentions playing an existing version of the track for the brass players, to give them some idea of what they were expected to play. About The Salvation Army, band manager Andrew King said that Barrett \"wanted a massive Salvation Army freak-out, but that's the only time I can remember Norman [Smith] putting his foot down.\" The song features a distinctive three-tiered structure: starting off in 34 meter, then into 24 and finishing off in 44.\n\nVideo\nThe promotional video for the song was filmed in December 1967, for the Central Office of Information in London. The video was supposed to be about Britain, and was meant to be distributed in the US and Canada. The video features Barrett (shown with an acoustic guitar for the first time) and the group miming to the song in a more conventional stage setting, with psychedelic projections in the background. The original audio to the promo is lost, and most versions use the BBC recording from late 1967, consequently causing sync issues most evident as Barrett sings the opening verse. The original film was considered to be lost, until it was re-discovered in the Manchester Arts Lab in 1999. Barrett and Waters first watched the promo video during the second week of December 1967.\n\nReception\nIn a contemporary negative review for A Saucerful of Secrets, Jim Miller of Rolling Stone asserts that ‘Jugband Blues’ \"hardly does any credit to Barrett's credentials as a composer.\"\n\nLegacy\nBarrett, along with Pink Floyd's managers, Peter Jenner and King, wanted to release the song as a single in the new year, before being vetoed by both the band and Norman Smith. Jenner said that \"Jugband Blues\", along with two others that Syd wrote around this time, (\"Scream Thy Last Scream\" and \"Vegetable Man\") were \"amazing songs.\" When compared to \"Bike\" and \"The Scarecrow\", Jenner said \"You think, 'Well, OK, those are all right, but these are powerful disturbing art.' I wouldn't want anyone to have to go as mad and disturbed as Syd did to get that, but if you are going to go that disturbed give me something like that. That's great art.\" Jenner had also called \"Jugband Blues\" \"an extraordinary song, the ultimate self-diagnosis on a state of schizophrenia, [and] the portrait of a nervous breakdown.\"Barrett, by the beginning of the recording sessions for A Saucerful of Secrets, was already shrinking into a delirious state of mind, exacerbated by his feelings of alienation from the rest of the band. The common interpretation of the lyrics is that they reflect his schizophrenia and it has been argued that they could also be read as a criticism of the other band members for forcing him out. King said of the song: \"The most alienated, extraordinary lyrics. It's not addressed to the band, it's addressed to the whole world. He was completely cut off.\" Jenner said \"I think every psychiatrist should be made to listen to those songs [\"Jugband Blues\", \"Scream Thy Last Scream\" and \"Vegetable Man\"]. I think they should be part of the curriculum of every medical college along with those Van Gogh paintings like The Crows.\"\"Jugband Blues\" is one of two songs (the other being \"Set the Controls for the Heart of the Sun\") from A Saucerful of Secrets that were later included on the compilation album Echoes: The Best of Pink Floyd. The song was preceded on the compilation by \"Wish You Were Here\", with lyrics by Roger Waters written in tribute to Barrett. The band \nOpal released a cover of the song on the Barrett tribute album Beyond the Wildwood in 1987.\n\nPersonnel\nSyd Barrett – acoustic guitar, electric guitar, lead vocals\nRichard Wright – Farfisa organ, tin whistle\nRoger Waters – bass guitar\nNick Mason – drums, castanets, kazoowith:\n\nThe Salvation Army International Staff BandRay Bowes (cornet), Terry Camsey (cornet), Mac Carter (trombone), Les Condon (E♭ bass), Maurice Cooper (euphonium), Ian Hankey (trombone), George Whittingham (B♭ bass), plus one other uncredited musician.\nPassage 6:\nHigh Coal, West Virginia\nHigh Coal or Highcoal is an unincorporated community and coal town located in Boone County, West Virginia, United States.\nPassage 7:\nThe Lump\nThe Lump is a short animated film released in 1991. It tells the story of an unattractive and unpopular man named George. One day, a lump appears on his head that looks like an attractive face. By pretending the lump is his real face, he gains fame and fortune, but soon he gets into trouble when he enters into the company of several corrupt politicians.\nA National Film Board of Canada film, The Lump was written and directed by John Weldon. Harvey Atkin contributed the voice. It was nominated for the Genie Award for Best Animated Short at the 13th Genie Awards in 1992, and won the Gordon Bruce Award for Humor at the Ottawa International Animation Festival in that year.\nPassage 8:\nJoel the Lump of Coal\n\"Joel the Lump of Coal\" is a song by Las Vegas-based rock band The Killers featuring late night talk show host Jimmy Kimmel. It was released on December 1, 2014. The song marks the ninth consecutive year in which the band has released a Christmas song. As with their previous Christmas releases, all proceeds from this song go to AIDS charities as part of the Product Red campaign. The song's announcement and debut occurred on Jimmy Kimmel Live!, where the music video and a montage about the recording process aired.\n\nMusic video\nThe animated music video first aired on Jimmy Kimmel Live! (December 1, 2014). The style of the video is similar to that of the stop motion animated Rudolph the Red-Nosed Reindeer (1964) and other Rankin/Bass Productions holiday-themed films in digital collage form. The song tells the story of Joel, a lump of coal living at the North Pole. Joel is excited when Santa chooses him to be a child's present, but he is disappointed to learn that instead of being a special gift, Santa is taking him to a naughty boy for Christmas. Joel reluctantly accepts his fate, but he soon realizes that he is just the present the naughty boy needs to help him change his ways. At the end, selfless Joel turns himself into a diamond to make the naughty boy happy.The song is written by Jimmy Kimmel, Jonathan Bines, and the Killers (Flowers, Keuning, Vannucci and Stoermer) with additional material by Tony Barbieri. The video is directed by Jonathan Kimmel, produced by Jennifer Sharron, and edited by Jason Bielski. The animation is by Sean Michael Solomon, Julian Petschek, Jonathan Kimmel, Jesse Griffith and Patrick Campbell, with Bernd Reinhardt as Director of Photography and Jim Alario as cameraman. The sound mix was recorded at Henson Studios, with field sound recorded by Brian Angely and Todd JeanPierre.\n\nTrack listing\nDigital Download\"Joel the Lump of Coal\" – 3:58\n\nCharts\nPassage 9:\nMinistry of Coal\nThe Ministry of Coal is an Indian government ministry headquartered in New Delhi. The portfolio is held by Cabinet Minister Pralhad Joshi.\nThe Ministry of Coal is charged with exploration of coal and lignite reserves in India, production, supply, distribution and price of coal through the government-owned corporations Coal India Limited and its subsidiaries, as well as Neyveli Lignite Corporation.The Ministry of Coal also manages the Union Government's 49 percent equity participation in Singareni Collieries Company, a public sector undertaking that is a joint venture with Government of Telangana. in which equity is held partly by the State Government of Telangana (51%) and the Government of India.\n\nMinisters of Coal\nList of Ministers of State\nOrganisations\nCentral Public Sector Undertakings\nCoal India\nNeyveli Lignite Corporation\n\nStatutory Bodies\nCoal Mines Provident Fund Organisation (CMPFO)\nCoal Mines Welfare Organisation\nCommissioner Of Payments\nCOAL CONTROLLER'S ORGANIZATION (CCO)\n\nFunctions And Responsibilities\nThe Ministry of Coal is responsible for development and exploitation of coal and lignite reserves in India. The subjects allocated to the Ministry which include attached and sub-ordinate or other organisations including PSUs concerned with their subjects under the Government of India (Allocation of Business) Rules, 1961, as amended from time to time, are as follows:\n\nExploration and development of coking coal and non-coking coal and lignite deposits in India\nAll matters relating to production, supply, distribution and prices of coal\nDevelopment and operation of coal washeries other than those for which Department of Steel (ISPAT Vibhag) is responsible\nLow-Temperature carbonisation of coal and production of synthetic oil from coal\nAdministration of the Coal Mines (Conservation and Development) Act, 1974 (28 of 1974)\nThe Coal Mines Provident Fund Organisation\nThe Coal Mines Welfare Organisation\nAdministration of the Coal Mines Provident Fund and Miscellaneous Provision Act, 1948 (46 of 1948)\nAdministration of the Coal Mines Labour Welfare Fund Act, 1947 (32 of 1947)\nRules under the Mines Act, 1952 (32 of 1952) for the levy and collection of duty of excise on coke and coal produced and dispatched from mines and administration of rescue fund\nAdministration of the Coal Bearing Areas (Acquisition and Development) Act, 1957 (20 of 1957)\nPassage 10:\nSingles: Individually Wrapped\nSingles: Individually Wrapped is a greatest hits album by Odds, released in 2000. The album contains singles from all four of the band's studio albums, as well as a rendition of the Christmas song \"Kings of Orient\" which the band recorded for the 1991 Christmas compilation A Lump of Coal.\n\nTrack listing\n\"Someone Who's Cool\" (3:17)\n\"Truth Untold\" (3:55)\n\"It Falls Apart\" (3:38)\n\"Love Is the Subject\" (4:43)\n\"Jackhammer\" (long version) (4:20)\n\"Satisfied\" (3:00)\n\"Nothing Beautiful\" (3:06)\n\"Eat My Brain\" (4:26)\n\"Make You Mad\" (4:07)\n\"Wendy Under the Stars\" (4:15)\n\"Yes (Means It's Hard to Say No)\" (single remix) (3:14)\n\"I Would Be Your Man\" (3:26)\n\"King of the Heap\" (single remix) (3:57)\n\"Heterosexual Man\" (3:32)\n\"Mercy to Go\" (5:18)\n\"Kings of Orient (We Three Kings)\" (4:26)",6 "char_len": 21560,7 "document_hash": "69d6ef3f8de4d159e16180e6bec799464c2b9112a7695de1e8323e6de85732c2",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Which song came out first, Joel The Lump Of Coal or Jugband Blues?"13 }14 ]15}