Divyanshu67/squad_v2 huggingface dataset:
Gramophone_record

In 1926 Joseph P. Maxwell and Henry C. Harrison from Bell Telephone Laboratories disclosed that the recording pattern of the Western Electric "rubber line" magnetic disc cutter had a constant velocity characteristic. This meant that as frequency increased in the treble, recording amplitude decreased. Conversely, in the bass as frequency decreased, recording amplitude increased. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. Otherwise, bass modulation became excessive and overcutting took place into the next record groove. When played back electrically with a magnetic pickup having a smooth response in the bass region, a complementary boost in amplitude at the bass turnover point was necessary. G. H. Miller in 1934 reported that when complementary boost at the turnover point was used in radio broadcasts of records, the reproduction was more realistic and many of the musical instruments stood out in their true form.

Question: Whom found that they can make musical instruments sound more natural with an amplifier boost at the turnover point?
Answer: G. H. Miller

Question: What is found when a complementary boost is used at the bass turnover point?
Answer: reproduction was more realistic

Question: When frequency in the treble increases what happens to the recording amplitude?
Answer: recording amplitude decreased

Question: What happens when frequency decreases in the bass?
Answer: recording amplitude increased
Gramophone_record

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 era had a higher amplitude in the midrange region. Brilliance such as this compensated for dullness in many early magnetic pickups having drooping midrange and treble response. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.

Question: Whom found Wente-style condenser microphones helpful?
Answer: P. G. A. H. Voigt

Question: How were Wente-Style condenser microphones helpful?
Answer: pre-emphasis in the recording

Question: When was a pre-emphasis most useful?
Answer: above 1,000 Hz

Question: On which recording types were pre-emphasis used most in the 1920s?
Answer: 78 rpm and 33 1⁄3 rpm

Question: In which Era was this finding most significant?
Answer: 1925 era
Gramophone_record

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Question: What was the industry standard in Europe for record equalization?
Answer: there was no industry standard

Question: In which country was the treble roll off greater?
Answer: US

Question: Which country prefers a bass turnover setting of 250-300 Hz?
Answer: Europe

Question: What was the industry standard on equalization practices?
Answer: there was no industry standard

Question: Which country used the most varied equalization practices?
Answer: US
Gramophone_record

Broadcasters were faced with having to adapt daily to the varied recording characteristics of many sources: various makers of "home recordings" readily available to the public, European recordings, lateral-cut transcriptions, and vertical-cut transcriptions. Efforts were started in 1942 to standardize within the National Association of Broadcasters (NAB), later known as the National Association of Radio and Television Broadcasters (NARTB). The NAB, among other items, issued recording standards in 1949 for laterally and vertically cut records, principally transcriptions. A number of 78 rpm record producers as well as early LP makers also cut their records to the NAB/NARTB lateral standard.

Question: Who made the move to standardize recordings?
Answer: National Association of Broadcasters

Question: When were recording standards officially released?
Answer: 1949

Question:  Which recording types were effected by the imposed industry standards?
Answer: laterally and vertically cut records, principally transcriptions.

Question: What was one issue of a lack of industry standards?
Answer: Broadcasters were faced with having to adapt daily to the varied recording

Question: What is the NAB?
Answer: National Association of Broadcasters
Gramophone_record

The lateral cut NAB curve was remarkably similar to the NBC Orthacoustic curve that evolved from practices within the National Broadcasting Company since the mid-1930s. Empirically, and not by any formula, it was learned that the bass end of the audio spectrum below 100 Hz could be boosted somewhat to override system hum and turntable rumble noises. Likewise at the treble end beginning at 1,000 Hz, if audio frequencies were boosted by 16 dB at 10,000 Hz the delicate sibilant sounds of speech and high overtones of musical instruments could survive the noise level of cellulose acetate, lacquer/aluminum, and vinyl disc media. When the record was played back using a complementary inverse curve, signal-to-noise ratio was improved and the programming sounded more lifelike.

Question: What was a benefit to broadcasters of recording standards?
Answer: programming sounded more lifelike.

Question: How did the NBC Othacoustic curve relate to the NAB curve?
Answer: remarkably similar

Question: What bass settings were needed to eliminate hum?
Answer: below 100 Hz

Question: What helped cause the most life like sound?
Answer: using a complementary inverse curve
Gramophone_record

Ultimately, the New Orthophonic curve was disclosed in a publication by R.C. Moyer of RCA Victor in 1953. He traced RCA Victor characteristics back to the Western Electric "rubber line" recorder in 1925 up to the early 1950s laying claim to long-held recording practices and reasons for major changes in the intervening years. The RCA Victor New Orthophonic curve was within the tolerances for the NAB/NARTB, Columbia LP, and AES curves. It eventually became the technical predecessor to the RIAA curve.

Question: How far back could these recording practices be traced?
Answer: 1925

Question: What were the recording standards based off from?
Answer: long-held recording practices

Question: What became the predecessor to the RIAA curve?
Answer: New Orthophonic curve

Question: Who developed the New Orthophonic curve?
Answer: RCA Victor

Question: Whom wrote the publication outlining the New Orthophonic curve?
Answer: R.C. Moyer
Gramophone_record

Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrapped with tape to help mute these resonances. Even an acoustic recording played back electrically on modern equipment sounds like it was recorded through a horn, notwithstanding a reduction in distortion because of the modern playback. Toward the end of the acoustic era, there were many fine examples of recordings made with horns.

Question: What was the quality of sound recordings made with horns at the end of the acoustic era?
Answer: many fine examples

Question: What were issues facing play back and recording mechanics?
Answer: acoustic limitations

Question: Why do photos show take on horns?
Answer: help mute these resonances

Question: How would a record recorded with a horn sound played through modern equipment?
Answer: like it was recorded through a horn

Question: What was the cause of delicate and fine sound loss?
Answer: took a lot of sound energy
Gramophone_record

Electric recording which developed during the time that early radio was becoming popular (1925) benefited from the microphones and amplifiers used in radio studios. The early electric recordings were reminiscent tonally of acoustic recordings, except there was more recorded bass and treble as well as delicate sounds and overtones cut on the records. This was in spite of some carbon microphones used, which had resonances that colored the recorded tone. The double button carbon microphone with stretched diaphragm was a marked improvement. Alternatively, the Wente style condenser microphone used with the Western Electric licensed recording method had a brilliant midrange and was prone to overloading from sibilants in speech, but generally it gave more accurate reproduction than carbon microphones.

Question: What technique offered realistic sounds during playback?
Answer: Western Electric licensed recording method

Question: At at time was radio gaining popularity?
Answer: 1925

Question: What type of microphones were losing popularity in the 1920s?
Answer: carbon microphones used,

Question: What benefit did the use of the Wente style condenser microphone offer?
Answer: brilliant midrange

Question: What was a benefit of early radio recordings?
Answer: microphones and amplifiers
Gramophone_record

It was not unusual for electric recordings to be played back on acoustic phonographs. The Victor Orthophonic phonograph was a prime example where such playback was expected. In the Orthophonic, which benefited from telephone research, the mechanical pickup head was redesigned with lower resonance than the traditional mica type. Also, a folded horn with an exponential taper was constructed inside the cabinet to provide better impedance matching to the air. As a result, playback of an Orthophonic record sounded like it was coming from a radio.

Question: What is one example of an acoustic phonograph on which one would listen to electric recordings?
Answer: Victor Orthophonic phonograph

Question: What allowed better sounds inside the cabinet of the orthoponic phonograph?
Answer: folded horn with an exponential taper

Question: What adjustments were made to the orthophonic  to accommodate electric recordings?
Answer: mechanical pickup head was redesigned with lower resonance than the traditional mica type

Question: Was it common to hear electric recordings on phonographs?
Answer: not unusual

Question: How similar was the sound of a orthodontic  record to a radio?
Answer: sounded like
Gramophone_record

Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.

Question: What are two examples of high quality microphones?
Answer: moving coil microphone was introduced around 1930 and the velocity or ribbon microphone

Question: What was used to dampen resonances in recordings?
Answer: Magnetic pickups

Question: When would you have first found the moving coil microphone?
Answer: around 1930

Question: What was a more economical option to magnetic pickups?
Answer: Crystal pickups

Question: In what years would you find electronic recordings played electronically?
Answer: 1930s and 1940s
Gramophone_record

Over time, fidelity, dynamic and noise levels improved to the point that it was harder to tell the difference between a live performance in the studio and the recorded version. This was especially true after the invention of the variable reluctance magnetic pickup cartridge by General Electric in the 1940s when high quality cuts were played on well-designed audio systems. The Capehart radio/phonographs of the era with large diameter electrodynamic loudspeakers, though not ideal, demonstrated this quite well with "home recordings" readily available in the music stores for the public to buy.

Question: What was a benefit of the use of magnetic pickup cartridge?
Answer: high quality cuts

Question: In what era could you find good quality recordings and playbacks at home?
Answer: 1940s

Question: What was a unique feature of the Capeart radio phonographs?
Answer: large diameter electrodynamic loudspeakers

Question: How similar were live and recorded versions?
Answer: harder to tell the difference
Gramophone_record

There were important quality advances in recordings specifically made for radio broadcast. In the early 1930s Bell Telephone Laboratories and Western Electric announced the total reinvention of disc recording: the Western Electric Wide Range System, "The New Voice of Action". The intent of the new Western Electric system was to improve the overall quality of disc recording and playback. The recording speed was 33 1⁄3 rpm, originally used in the Western Electric/ERPI movie audio disc system implemented in the early Warner Brothers' Vitaphone "talkies" of 1927.

Question: When was the Western Electric System introduced?
Answer: early 1930s

Question: What two companies worked together to develop the Western Electric System?
Answer: Bell Telephone Laboratories and Western Electric

Question: What system was used by Warner Brothers?
Answer: Western Electric system

Question: What speed was used in the Western Electric System?
Answer: 33 1⁄3 rpm

Question: What was the Western Electric System believed to do?
Answer: improve the overall quality
Gramophone_record

The newly invented Western Electric moving coil or dynamic microphone was part of the Wide Range System. It had a flatter audio response than the old style Wente condenser type and didn't require electronics installed in the microphone housing. Signals fed to the cutting head were pre-emphasized in the treble region to help override noise in playback. Groove cuts in the vertical plane were employed rather than the usual lateral cuts. The chief advantage claimed was more grooves per inch that could be crowded together, resulting in longer playback time. Additionally, the problem of inner groove distortion, which plagued lateral cuts, could be avoided with the vertical cut system. Wax masters were made by flowing heated wax over a hot metal disc thus avoiding the microscopic irregularities of cast blocks of wax and the necessity of planing and polishing.

Question: What was a benefit of vertical groove cuts?
Answer: longer playback time

Question: What could be avoided by using vertical groove cuts?
Answer: inner groove distortion

Question: How was the moving coil microphone unique to the Wente type?
Answer: didn't require electronics installed in the microphone housing

Question: How was sound improved using the moving coil microphone?
Answer: override noise in playback

Question: How was wax used to improve recordings?
Answer: avoiding the microscopic irregularities
Gramophone_record

Vinyl pressings were made with stampers from master cuts that were electroplated in vacuo by means of gold sputtering. Audio response was claimed out to 8,000 Hz, later 13,000 Hz, using light weight pickups employing jeweled styli. Amplifiers and cutters both using negative feedback were employed thereby improving the range of frequencies cut and lowering distortion levels. Radio transcription producers such as World Broadcasting System and Associated Music Publishers (AMP) were the dominant licensees of the Western Electric wide range system and towards the end of the 1930s were responsible for two-thirds of the total radio transcription business. These recordings use a bass turnover of 300 Hz and a 10,000 Hz rolloff of −8.5 dB.

Question: What were used to make vinyl pressings?
Answer: master cuts

Question: What were the top licensees of the Western Electric system in the 1930s?
Answer: World Broadcasting System and Associated Music Publishers

Question: Who was responsible for 2/3 of all recordings in the 1930s?
Answer: World Broadcasting System and Associated Music Publishers

Question: How was gold spluttering used in vinyl creation?
Answer: cuts that were electroplated in vacuo by means of gold sputtering
Gramophone_record

The complete technical disclosure of the Columbia LP by Peter C. Goldmark, Rene' Snepvangers and William S. Bachman in 1949 made it possible for a great variety of record companies to get into the business of making long playing records. The business grew quickly and interest spread in high fidelity sound and the do-it-yourself market for pickups, turntables, amplifier kits, loudspeaker enclosure plans, and AM/FM radio tuners. The LP record for longer works, 45 rpm for pop music, and FM radio became high fidelity program sources in demand. Radio listeners heard recordings broadcast and this in turn generated more record sales. The industry flourished.

Question: When was the business booming for do it yourself sound fanatics?
Answer: 1949

Question: What kind of recordings worked best for pop music?
Answer: 45 rpm

Question: What was used for longer recordings?
Answer: LP record

Question: What opened doors for long recordings?
Answer: The complete technical disclosure of the Columbia LP by Peter C. Goldmark, Rene' Snepvangers and William S. Bachman

Question: What aided in records sales in the 1950s?
Answer: Radio listeners heard recordings broadcast
Gramophone_record

There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. The upper and lower frequency limits of human hearing vary per person.

Question: What is generally the lowest sound a human can hear?
Answer: 20 Hz

Question: What is believed to better offer sounds of higher frequencies, compact discs or records?
Answer: vinyl records

Question: What is the higher end of typical human hearing?
Answer: 20,000 Hz

Question: Does the hearing range of the human vary?
Answer: The upper and lower frequency limits of human hearing vary per person
Gramophone_record

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

Question: Who would engrave the master disc of a vinyl record?
Answer: record cutter

Question: What was used in first recordings of vinyl records?
Answer: soft wax

Question: What was used in final recordings of vinyl records?
Answer: harder lacquer

Question: After the 1950s  what was a typical recording process?
Answer: first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc

Question: Where were sound recordings originally made to?
Answer: master disc
Gramophone_record

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

Question: Should alcohol be used to clean gramophone recordings?
Answer: alcohol should only be used on PVC or optical media

Question: Is gramophone equipment readily available?
Answer: manufactured only in small quantities

Question: What is the recommendation of gramophone recordings to preserve integrity?
Answer: transferring them onto other media

Question: What is a drawback of gramophone use?
Answer: gradual degradation

Question: How are gramophones best stored?
Answer: on edge
Gramophone_record

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Question: Is it difficult to transfer recording from historic interest to newer technologies?
Answer: Anyone can do this

Question: What would offer the highest quality transfers of historic interest?
Answer: professional archivists

Question: What would a hobbiest need to transfer historic recordings to digital formats?
Answer: standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer

Question: Is an original destroyed when transferred to digital format?
Answer: without any further damage to the source recording

Question: What is one benefit of transferring an older format to a newer format?
Answer: manipulated to remove analog flaws
Gramophone_record

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Question: What was a major cause of declined vinyl sales?
Answer: major label distributors restricted their return policies

Question: Which allows for more profits, vinyl or compact discs?
Answer: CDs, which were more profitable for the record companies

Question: When did vinyl record sales decline?
Answer: between 1988 and 1991

Question: When did compact disc popularity take hold?
Answer: 1988

Question: When were groove recordings developed?
Answer: final quarter of the 19th century,
Gramophone_record

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Question: Are records generally out of print as of date?
Answer: Vinyl records continue to be manufactured and sold today

Question: Are albums ever reproduced?
Answer: Many popular new albums are given releases

Question: What types of vinyl hold the most popularity?
Answer: Old records and out-of-print recordings

Question: Does vinyl record maintain any popularity?
Answer: records still have enthusiastic supporters
Gramophone_record

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Question: What is a reason a DJ would prefer vinyl to CD?
Answer: direct manipulation

Question: In what techniques would a DJ require a vinyl record?
Answer: slip-cueing, beatmatching, and scratching

Question: Are all turn tables capable of DJ manipulation of vinyl records?
Answer: provided the stylus, record player, and record itself are built to withstand it

Question: What is commonly preferred by DJs vinyl or CD?
Answer: any electronic dance music and hip hop releases today are still preferred on vinyl

Question: Had vinyl technology ceased expanding?
Answer: However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.
Gramophone_record

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

Question: Whom set the most recent sales record of vinyl records since 1991?
Answer: Jack White

Question: What medium has seen the biggest fall in sales as of late?
Answer: compact discs

Question: What was unique to vinyl sales in 2014?
Answer: was the only physical music medium with increasing sales with relation to the previous year

Question: Who sold 34,000 vinyl records in 1994?
Answer: Pearl Jam

Question: Prior to 2014 when was the most recent large sale of vinyl records?
Answer: 1991
Turner_Classic_Movies

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Question: Warner Bros. pictures before what year are part of the Turner Entertainment library?
Answer: 1950

Question: Up until what month and year of release are films from Metro-Goldwyn-Mayer part of the Turner Entertainment library?
Answer: May 1986

Question: What company owns TCM and Warner Bros.?
Answer: Time Warner

Question: What is Turner Classic Movies called in France?
Answer: TCM Cinéma

Question: What is the Spanish version of Turner Classic Movies?
Answer: TCM España

Question: Warner Bros. pictures before what year are part of the TCM?

Question: Up until what month and year of release are films from TCM part of the Turner Entertainment Library?

Question: What is Turner Classic Movies called in Africa?

Question: What is a dedicated licensing channel?

Question: Who has licensing deals with libraries?
Turner_Classic_Movies

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

Question: How much did Ted Turner pay for Metro-Goldwyn Mayer?
Answer: $1.5 billion

Question: In what year did Ted Turner buy Metro-Goldwyn-Mayer?
Answer: 1986

Question: Who did Ted Turner sell Metro-Goldwyn-Mayer to?
Answer: Kirk Kerkorian

Question: Who did Ted Turner buy Metro-Goldwyn-Mayer from?
Answer: Kirk Kerkorian

Question: Up to what date of release did Turner retain ownership of the MGM film library?
Answer: May 9, 1986

Question: How much did Ted Turner pay for UA?

Question: In what year did Ted Turner buy UA?

Question: Who did Ted Turner sell UA to?

Question: Who did Ted Turner buy UA from?

Question: Up to what date of release did Kerkorian retain ownership of the MGM film library?
Turner_Classic_Movies

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).

Question: On what network did Turner Entertainment's film library air prior to the creation of TCM?
Answer: TNT

Question: What was a notable film that Turner colorized?
Answer: The Maltese Falcon

Question: Who did Turner ink a deal with to distribute Warner Bros. films from before 1950?
Answer: MGM/UA

Question: The MGM/UA-Turner deal concerned MGM films released prior to what date?
Answer: May 1986

Question: On what network did Turner Entertainment's film library air prior to the creation of MGM/UA?

Question: What was a notable film that Warner Bros. colorized?

Question: Who did Warner Bros. ink a deal with to distribute Warner Bros. films from before 1950?

Question: The MGM/UA-Turner deal concerned TCM films released prior to what date?

Question: What would serve as the base form of programming for MGM?
Turner_Classic_Movies

At the time of its launch, TCM was available to approximately one million cable television subscribers. The network originally served as a competitor to AMC – which at the time was known as "American Movie Classics" and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.

Question: How many subscribers had access to TCM upon it launch?
Answer: one million

Question: When TCM premiered, what was AMC called?
Answer: American Movie Classics

Question: What sorts of films did American Movie Classics primarily show?
Answer: released prior to 1970

Question: By what year was AMC showing commercials?
Answer: 2002

Question: How many subscribers had access to AMC upon its launch?

Question: When TCM ended, what was AMC called?

Question: What sorts of films did TCM primarily show?

Question: By what year was TCM showing commercials?

Question: Who originally served as a free format to AMC?
Turner_Classic_Movies

In 1996, Turner Broadcasting System merged with Time Warner, which besides placing Turner Classic Movies and Warner Bros. Entertainment under the same corporate umbrella, also gave TCM access to Warner Bros.' library of films released after 1949 (which itself includes other acquired entities such as the Lorimar, Saul Zaentz and National General Pictures libraries); incidentally, TCM had already been running select Warner Bros. film titles through a licensing agreement with the studio that was signed prior to the launch of the channel. In March 1999, MGM paid Warner Bros. and gave up the home video rights to the MGM/UA films owned by Turner to Warner Home Video.

Question: With what company did Turner Broadcasting Systems merge in 1996?
Answer: Time Warner

Question: Along with Lorimar and National General Pictures, what library was included in the Warner Bros. library?
Answer: Saul Zaentz

Question: When did MGM give Warner Home Video the rights to MGM/UA's films on home video?
Answer: March 1999

Question: With what company did Turner Broadcasting Systems merge in 1999?

Question: Along with Lorimar and National General Pictures, what library was included in the Time Warner library?

Question: When did MGM give Warner Home Video the rights to Turner Broadcasting's films on home video?

Question: When did Warner Home Video merge with Time Warner?

Question: What placed Warner Bros. Entertainment and Warner Home Video under the same corporate umbrella?
Turner_Classic_Movies

In 2000, TCM started the annual Young Composers Film Competition, inviting aspiring composers to participate in a judged competition that offers the winner of each year's competition the opportunity to score a restored, feature-length silent film as a grand prize, mentored by a well-known composer, with the new work subsequently premiering on the network. As of 2006, films that have been rescored include the 1921 Rudolph Valentino film Camille, two Lon Chaney films: 1921's The Ace of Hearts and 1928's Laugh, Clown, Laugh, and Greta Garbo's 1926 film The Temptress.

Question: In what year did TCM begin the Young Composers Film Competition?
Answer: 2000

Question: How often is the Young Composers Film Competition?
Answer: annual

Question: What is the grand prize in the Young Composers Film Competition?
Answer: score a restored, feature-length silent film

Question: In what year was Laugh, Clown, Laugh released?
Answer: 1928

Question: Who starred in The Temptress?
Answer: Greta Garbo

Question: In what year did TCM end the Young Composers Film Competition?

Question: How often is the TCM?

Question: What is the grand prize in the TCM?

Question: In what year was TCM realeased?

Question: Who starred in he Ace of Hearts?
Turner_Classic_Movies

In 2008, TCM won a Peabody Award for excellence in broadcasting. In April 2010, Turner Classic Movies held the first TCM Classic Film Festival, an event – now held annually – at the Grauman's Chinese Theater and the Grauman's Egyptian Theater in Hollywood. Hosted by Robert Osborne, the four-day long annual festival celebrates Hollywood and its movies, and features celebrity appearances, special events, and screenings of around 50 classic movies including several newly restored by the Film Foundation, an organization devoted to preserving Hollywood's classic film legacy.

Question: In what year did TCM receive a Peabody Award?
Answer: 2008

Question: For what reason is a Peabody Award granted?
Answer: excellence in broadcasting

Question: When did the inaugural TCM Classic Film Festival take place?
Answer: April 2010

Question: In addition to the Grauman's Chinese Theater, where did the first TCM Classic Film Festival take place?
Answer: Grauman's Egyptian Theater

Question: Where is Grauman's Chinese Theater located?
Answer: Hollywood

Question: In what year did TCM receive a film legacy?

Question: For what reason is a film legacy granted?

Question: When did the inaugural TCM film legacy take place?

Question: In addition to the Grauman's Chinese Theater, where did the first film legacy take place?

Question: Where is the film legacy located?
Turner_Classic_Movies

Turner Classic Movies essentially operates as a commercial-free service, with the only advertisements on the network being shown between features – which advertise TCM products, network promotions for upcoming special programs and the original trailers for films that are scheduled to be broadcast on TCM (particularly those that will air during the primetime hours), and featurettes about classic film actors and actresses. In addition to this, extended breaks between features are filled with theatrically released movie trailers and classic short subjects – from series such as The Passing Parade, Crime Does Not Pay, Pete Smith Specialties, and Robert Benchley – under the banner name TCM Extras (formerly One Reel Wonders). In 2007, some of the short films featured on TCM were made available for streaming on TCM's website. Partly to allow these interstitials, Turner Classic Movies schedules its feature films either at the top of the hour or at :15, :30 or :45 minutes past the hour, instead of in timeslots of varying five-minute increments.

Question: What were TCM Extras previously known as?
Answer: One Reel Wonders

Question: When did short films from TCM begin to stream on TCM's website?
Answer: 2007

Question: Along with The Passing Parade, Crime Does Not Pay and Pete Smith Specialties, what short subjects feature on TCM?
Answer: Robert Benchley

Question: Along with :45, :30 and :15 past the hour, at what time do TCM features begin?
Answer: top of the hour

Question: What were TCM products previously known as?

Question: When did short films from TCM begin to stream on Passing Parade's website?

Question: What short subjects feature on primetime hours along with The Passing Parade, Crime Does Not Pay and Pete Smith Specialties?

Question: Along with :35, :30, and :15 past the hour, at what time does Benchley begin?

Question: What are filled with theatricallly released banner names?
Turner_Classic_Movies

TCM's film content has remained mostly uncut and uncolorized (with films natively filmed or post-produced in the format being those only ones presented in color), depending upon the original content of movies, particularly movies released after the 1968 implementation of the Motion Picture Association of America's ratings system and the concurrent disestablishment of the Motion Picture Production Code. Because of this, TCM is formatted similarly to a premium channel with certain films – particularly those made from the 1960s onward – sometimes featuring nudity, sexual content, violence and/or strong profanity; the network also features rating bumpers prior to the start of a program (most programs on TCM, especially films, are rated for content using the TV Parental Guidelines, in lieu of the MPAA's rating system).

Question: In what year did the Motion Picture Association of America introduce its rating system?
Answer: 1968

Question: In what year did the Motion Picture Production Code cease?
Answer: 1968

Question: What rating system is often used by TCM?
Answer: TV Parental Guidelines

Question: In what year did TCM introduce its rating system?

Question: In what year did the TCM cease?

Question: What rating system is often used by the Motion Picture Association of America?

Question: Whose content has remained mostly cut?

Question: What bumpers were particularly formatted?
Turner_Classic_Movies

The network's programming season runs from February until the following March of each year when a retrospective of Oscar-winning and Oscar-nominated movies is shown, called 31 Days of Oscar. As a result of its devoted format to classic feature films, viewers that are interested in tracing the career development of actresses such as Barbara Stanwyck or Greta Garbo or actors like Cary Grant or Humphrey Bogart have the unique opportunity to see most of the films that were made during their careers, from beginning to end. Turner Classic Movies presents many of its features in their original aspect ratio (widescreen or full screen) whenever possible – widescreen films broadcast on TCM are letterboxed on the network's standard definition feed. TCM also regularly presents widescreen presentations of films not available in the format on any home video release.

Question: What retrospective of the Oscars is shown yearly on TCM?
Answer: 31 Days of Oscar

Question: When does TCM's programming season begin?
Answer: February

Question: On its standard definition broadcast, what format does TCM use to preserve the original aspect ratio?
Answer: letterboxed

Question: Along with Cary Grant, who is a notable actor whose career a viewer might follow on TCM?
Answer: Humphrey Bogart

Question: What retrospective of the Oscars is shown yearly on letterbox?

Question: When does the letterbox's programming season begin?

Question: ON its standard definition broadcast, what format does Bogart use to preserve the original aspect ratio?

Question: Along with Cary Grant, who is a notable actor whose career a viewer might follow on Grant?

Question: When is a retrospective of Oscar-winning and Oscar-nominated actors shown?
Turner_Classic_Movies

TCM's library of films spans several decades of cinema and includes thousands of film titles. Besides its deals to broadcast film releases from Metro-Goldwyn-Mayer and Warner Bros. Entertainment, Turner Classic Movies also maintains movie licensing rights agreements with Universal Studios, Paramount Pictures, 20th Century Fox, Walt Disney Studios (primarily film content from Walt Disney Pictures, as well as most of the Selznick International Pictures library), Sony Pictures Entertainment (primarily film content from Columbia Pictures), StudioCanal, and Janus Films.

Question: Who owns the Selznick International Pictures library?
Answer: Walt Disney Studios

Question: Who is the owner of Columbia Pictures content?
Answer: Sony Pictures Entertainment

Question: How many films are present in the TCM library?
Answer: thousands

Question: Who owns the Seiznick International Pictures film?

Question: Who is the owner of Janus Films?

Question: How many films are present in the Janus library?

Question: What spans several decades of agreements?

Question: What includes thousands of Janus Films?
Turner_Classic_Movies

Most Paramount sound releases made prior to 1950 are owned by EMKA, Ltd./NBCUniversal Television Distribution, while Paramount (currently owned by Viacom) holds on to most of its post-1949 releases, which are distributed for television by Trifecta Entertainment & Media. Columbia's film output is owned by Sony (through Sony Pictures Television); distribution of 20th Century Fox's film library is handled for television by its 21st Century Fox subsidiary 20th Television, and the Walt Disney Studios (owned by The Walt Disney Company) has its library film output handled for television by Disney-ABC Domestic Television. Classic films released by 20th Century Fox, Paramount Pictures, Universal Studios, and Columbia Pictures are licensed individually for broadcast on Turner Classic Movies.

Question: Who owns the majority of pre-1950 Paramount sound releases?
Answer: EMKA, Ltd./NBCUniversal Television Distribution

Question: Who owns Paramount?
Answer: Viacom

Question: Who holds TV distribution rights to Paramount's post-1949 releases?
Answer: Trifecta Entertainment & Media

Question: Who owns Walt Disney Studios?
Answer: The Walt Disney Company

Question: Who manages the TV distribution of Walt Disney Studios?
Answer: Disney-ABC Domestic Television

Question: Who owns the majority of 1950 Paramount sound releases?

Question: Who holds TV distribution rights to Paramount's 1949 releases?

Question: Who owns Walt Disney Fox?

Question: Who manages the TV distribution of Walt Disney Fox?

Question: What is Disney's film output owned by?
Turner_Classic_Movies

Most feature movies shown during the prime time and early overnight hours (8:00 p.m. to 2:30 a.m. Eastern Time) are presented by film historian Robert Osborne (who has been with the network since its 1994 launch, except for a five-month medical leave from July to December 2011, when guest hosts presented each night's films) on Sunday through Wednesday evenings – with Osborne only presenting primetime films on weekends – and Ben Mankiewicz presenting only late evening films on Thursdays, and the "Silent Sunday Nights" and "TCM Imports" blocks on Sundays.

Question: What is the time period covered by prime time and the early overnight?
Answer: 8:00 p.m. to 2:30 a.m. Eastern Time

Question: Who presents films on TCM on Wednesday nights?
Answer: Robert Osborne

Question: What is Robert Osborne by profession?
Answer: film historian

Question: Why did Robert Osborne stop presenting films on TCM for several months?
Answer: medical leave

Question: Who presents Silent Sunday Nights?
Answer: Ben Mankiewicz

Question: Who presents films on Eastern on Wednesday nights?

Question: What is Eastern by profession?

Question: Why did Robert Osbourne stop presenting films on Eastern for several months?

Question: Who presents Silent Sunday Nights?

Question: When was Ben Mankiewicz on medical leave?