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C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. | C_648a4ddf31a44a7c87339dba68db02dc_0_q#3 | What was that about? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1702
]
} | {
"text": "unknown",
"answer_start": 1702
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown | C_648a4ddf31a44a7c87339dba68db02dc_0_q#4 | Does the article mention anything else he starred in? | 0y
| 2x
| {
"texts": [
"After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man"
],
"answer_starts": [
663
]
} | {
"text": "After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man",
"answer_start": 663
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man | C_648a4ddf31a44a7c87339dba68db02dc_0_q#5 | Was he on any other shows? | 0y
| 2x
| {
"texts": [
"In It's a Mad, Mad, Mad, Mad World (1963),"
],
"answer_starts": [
796
]
} | {
"text": "In It's a Mad, Mad, Mad, Mad World (1963),",
"answer_start": 796
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man
Q: Was he on any other shows?
A: In It's a Mad, Mad, Mad, Mad World (1963), | C_648a4ddf31a44a7c87339dba68db02dc_0_q#6 | Did that show do well? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1702
]
} | {
"text": "unknown",
"answer_start": 1702
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man
Q: Was he on any other shows?
A: In It's a Mad, Mad, Mad, Mad World (1963),
Q: Did that show do well?
A: unknown | C_648a4ddf31a44a7c87339dba68db02dc_0_q#7 | Was Stanley a comedy? | 2m
| 0y
| {
"texts": [
"Stanley, a 1956-57 situation comedy"
],
"answer_starts": [
51
]
} | {
"text": "Stanley, a 1956-57 situation comedy",
"answer_start": 51
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man
Q: Was he on any other shows?
A: In It's a Mad, Mad, Mad, Mad World (1963),
Q: Did that show do well?
A: unknown
Q: Was Stanley a comedy?
A: Stanley, a 1956-57 situation comedy | C_648a4ddf31a44a7c87339dba68db02dc_0_q#8 | Did he mainly only do comedy shows? | 0y
| 0y
| {
"texts": [
"He appeared many times on the game show Hollywood Squares in the late 1960s."
],
"answer_starts": [
1141
]
} | {
"text": "He appeared many times on the game show Hollywood Squares in the late 1960s.",
"answer_start": 1141
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man
Q: Was he on any other shows?
A: In It's a Mad, Mad, Mad, Mad World (1963),
Q: Did that show do well?
A: unknown
Q: Was Stanley a comedy?
A: Stanley, a 1956-57 situation comedy
Q: Did he mainly only do comedy shows?
A: He appeared many times on the game show Hollywood Squares in the late 1960s. | C_648a4ddf31a44a7c87339dba68db02dc_0_q#9 | Was this the only game show he was on? | 0y
| 2x
| {
"texts": [
"Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s"
],
"answer_starts": [
1534
]
} | {
"text": "Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s",
"answer_start": 1534
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man
Q: Was he on any other shows?
A: In It's a Mad, Mad, Mad, Mad World (1963),
Q: Did that show do well?
A: unknown
Q: Was Stanley a comedy?
A: Stanley, a 1956-57 situation comedy
Q: Did he mainly only do comedy shows?
A: He appeared many times on the game show Hollywood Squares in the late 1960s.
Q: Was this the only game show he was on?
A: Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s | C_648a4ddf31a44a7c87339dba68db02dc_0_q#10 | Any other significant things he worked on? | 0y
| 2x
| {
"texts": [
"coveted appearance on Paar's final Tonight program on March 29, 1962."
],
"answer_starts": [
1632
]
} | {
"text": "coveted appearance on Paar's final Tonight program on March 29, 1962.",
"answer_start": 1632
} |
C_648a4ddf31a44a7c87339dba68db02dc_0 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Stanley | Hackett starred as the title character on NBC-TV's Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood. After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It's a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything's Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney's The Love Bug (1969). He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, "The country with the most Jews." Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s were rewarded with a coveted appearance on Paar's final Tonight program on March 29, 1962.
Q: Was Stanley a character he played?
A: Hackett starred as the title character on NBC-TV's Stanley, a 1956-57
Q: What was the show about?
A: The half-hour series also featured a young Carol Burnett and the voice of Paul Lynde.
Q: Are there any other interesting aspects about this article?
A: On September 30, 1960, he appeared as himself in an episode of NBC's short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.
Q: What was that about?
A: unknown
Q: Does the article mention anything else he starred in?
A: After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man
Q: Was he on any other shows?
A: In It's a Mad, Mad, Mad, Mad World (1963),
Q: Did that show do well?
A: unknown
Q: Was Stanley a comedy?
A: Stanley, a 1956-57 situation comedy
Q: Did he mainly only do comedy shows?
A: He appeared many times on the game show Hollywood Squares in the late 1960s.
Q: Was this the only game show he was on?
A: Hackett's regular guest shots on Jack Paar's Tonight Show in the early 1960s
Q: Any other significant things he worked on?
A: coveted appearance on Paar's final Tonight program on March 29, 1962. | C_648a4ddf31a44a7c87339dba68db02dc_0_q#11 | Was he well received? | 0y
| 0y
| {
"texts": [
"Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct."
],
"answer_starts": [
1392
]
} | {
"text": "Despite the audience roaring with laughter (and Hackett's own belief that the actual answer was Sweden), the answer turned out to be correct.",
"answer_start": 1392
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. | C_648a4ddf31a44a7c87339dba68db02dc_1_q#0 | What was his first job? | 0y
| 2x
| {
"texts": [
"Hackett's first job after the war was at the Pink Elephant, a Brooklyn club."
],
"answer_starts": [
0
]
} | {
"text": "Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.",
"answer_start": 0
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. | C_648a4ddf31a44a7c87339dba68db02dc_1_q#1 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"Hackett's movie career began in 1950 with a 10-minute \"World of Sports\" reel for Columbia Pictures called King of the Pins."
],
"answer_starts": [
358
]
} | {
"text": "Hackett's movie career began in 1950 with a 10-minute \"World of Sports\" reel for Columbia Pictures called King of the Pins.",
"answer_start": 358
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. | C_648a4ddf31a44a7c87339dba68db02dc_1_q#2 | Was it well received? | 2m
| 2x
| {
"texts": [
"Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention."
],
"answer_starts": [
643
]
} | {
"text": "Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.",
"answer_start": 643
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. | C_648a4ddf31a44a7c87339dba68db02dc_1_q#3 | What caused his come back? | 2m
| 2x
| {
"texts": [
"The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),"
],
"answer_starts": [
1063
]
} | {
"text": "The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),",
"answer_start": 1063
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), | C_648a4ddf31a44a7c87339dba68db02dc_1_q#4 | Did he have any flops? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2605
]
} | {
"text": "unknown",
"answer_start": 2605
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Q: Did he have any flops?
A: unknown | C_648a4ddf31a44a7c87339dba68db02dc_1_q#5 | did he have any other castings in his early career? | 2m
| 0y
| {
"texts": [
"He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961."
],
"answer_starts": [
2516
]
} | {
"text": "He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.",
"answer_start": 2516
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Q: Did he have any flops?
A: unknown
Q: did he have any other castings in his early career?
A: He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. | C_648a4ddf31a44a7c87339dba68db02dc_1_q#6 | Did he appear on any other shows? | 2m
| 0y
| {
"texts": [
"Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows"
],
"answer_starts": [
1852
]
} | {
"text": "Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows",
"answer_start": 1852
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Q: Did he have any flops?
A: unknown
Q: did he have any other castings in his early career?
A: He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: Did he appear on any other shows?
A: Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows | C_648a4ddf31a44a7c87339dba68db02dc_1_q#7 | What type of talk shows? | 2m
| 2x
| {
"texts": [
"Jack Paar and the Johnny Carson"
],
"answer_starts": [
2134
]
} | {
"text": "Jack Paar and the Johnny Carson",
"answer_start": 2134
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Q: Did he have any flops?
A: unknown
Q: did he have any other castings in his early career?
A: He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: Did he appear on any other shows?
A: Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows
Q: What type of talk shows?
A: Jack Paar and the Johnny Carson | C_648a4ddf31a44a7c87339dba68db02dc_1_q#8 | Was this a talk show he appear on frequently? | 2m
| 0y
| {
"texts": [
"a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes,"
],
"answer_starts": [
1949
]
} | {
"text": "a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes,",
"answer_start": 1949
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Q: Did he have any flops?
A: unknown
Q: did he have any other castings in his early career?
A: He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: Did he appear on any other shows?
A: Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows
Q: What type of talk shows?
A: Jack Paar and the Johnny Carson
Q: Was this a talk show he appear on frequently?
A: a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, | C_648a4ddf31a44a7c87339dba68db02dc_1_q#9 | any thing else notable? | 2m
| 0y
| {
"texts": [
"he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt."
],
"answer_starts": [
2383
]
} | {
"text": "he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt.",
"answer_start": 2383
} |
C_648a4ddf31a44a7c87339dba68db02dc_1 | Buddy Hackett | Hackett was born in Brooklyn, New York to Anna (nee Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942. | Early career | Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials. Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh. Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction. Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: What was his first job?
A: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Q: Are there any other interesting aspects about this article?
A: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Q: Was it well received?
A: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Q: What caused his come back?
A: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Q: Did he have any flops?
A: unknown
Q: did he have any other castings in his early career?
A: He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Q: Did he appear on any other shows?
A: Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows
Q: What type of talk shows?
A: Jack Paar and the Johnny Carson
Q: Was this a talk show he appear on frequently?
A: a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes,
Q: any thing else notable?
A: he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. | C_648a4ddf31a44a7c87339dba68db02dc_1_q#10 | Any other game shows? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2605
]
} | {
"text": "unknown",
"answer_start": 2605
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues. | C_f726b9f556564c25a23df832b054406d_0_q#0 | What is Leaving Basie? | 2m
| 2x
| {
"texts": [
"Young left the Basie band in late 1940."
],
"answer_starts": [
0
]
} | {
"text": "Young left the Basie band in late 1940.",
"answer_start": 0
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940. | C_f726b9f556564c25a23df832b054406d_0_q#1 | Why did he leave? | 0y
| 2x
| {
"texts": [
"He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,"
],
"answer_starts": [
40
]
} | {
"text": "He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,",
"answer_start": 40
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, | C_f726b9f556564c25a23df832b054406d_0_q#2 | How did he react to his dismissal? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1866
]
} | {
"text": "unknown",
"answer_start": 1866
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown | C_f726b9f556564c25a23df832b054406d_0_q#3 | What did he do after he was dismissed? | 0y
| 2x
| {
"texts": [
"Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat \"King\" Cole"
],
"answer_starts": [
486
]
} | {
"text": "Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat \"King\" Cole",
"answer_start": 486
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown
Q: What did he do after he was dismissed?
A: Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole | C_f726b9f556564c25a23df832b054406d_0_q#4 | What did record with them? | 2m
| 2x
| {
"texts": [
"His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians."
],
"answer_starts": [
704
]
} | {
"text": "His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians.",
"answer_start": 704
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown
Q: What did he do after he was dismissed?
A: Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole
Q: What did record with them?
A: His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. | C_f726b9f556564c25a23df832b054406d_0_q#5 | Did he work with any other artists? | 1n
| 0y
| {
"texts": [
"he recorded some sessions for Harry Lim's Keynote label in 1943."
],
"answer_starts": [
927
]
} | {
"text": "he recorded some sessions for Harry Lim's Keynote label in 1943.",
"answer_start": 927
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown
Q: What did he do after he was dismissed?
A: Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole
Q: What did record with them?
A: His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians.
Q: Did he work with any other artists?
A: he recorded some sessions for Harry Lim's Keynote label in 1943. | C_f726b9f556564c25a23df832b054406d_0_q#6 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II ("
],
"answer_starts": [
993
]
} | {
"text": "In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (",
"answer_start": 993
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown
Q: What did he do after he was dismissed?
A: Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole
Q: What did record with them?
A: His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians.
Q: Did he work with any other artists?
A: he recorded some sessions for Harry Lim's Keynote label in 1943.
Q: Are there any other interesting aspects about this article?
A: In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II ( | C_f726b9f556564c25a23df832b054406d_0_q#7 | What happened after he was drafted? | 2m
| 2x
| {
"texts": [
"Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed,"
],
"answer_starts": [
1143
]
} | {
"text": "Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed,",
"answer_start": 1143
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown
Q: What did he do after he was dismissed?
A: Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole
Q: What did record with them?
A: His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians.
Q: Did he work with any other artists?
A: he recorded some sessions for Harry Lim's Keynote label in 1943.
Q: Are there any other interesting aspects about this article?
A: In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (
Q: What happened after he was drafted?
A: Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, | C_f726b9f556564c25a23df832b054406d_0_q#8 | Why did he change to a plastic reed? | 2m
| 2x
| {
"texts": [
"which tended to give his playing a somewhat heavier, breathier tone"
],
"answer_starts": [
1266
]
} | {
"text": "which tended to give his playing a somewhat heavier, breathier tone",
"answer_start": 1266
} |
C_f726b9f556564c25a23df832b054406d_0 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | Leaving Basie | Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would later state that his departure had been in the works for months. He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians. Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.
Q: What is Leaving Basie?
A: Young left the Basie band in late 1940.
Q: Why did he leave?
A: He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal,
Q: How did he react to his dismissal?
A: unknown
Q: What did he do after he was dismissed?
A: Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole
Q: What did record with them?
A: His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the recording ban by the American Federation of Musicians.
Q: Did he work with any other artists?
A: he recorded some sessions for Harry Lim's Keynote label in 1943.
Q: Are there any other interesting aspects about this article?
A: In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (
Q: What happened after he was drafted?
A: Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed,
Q: Why did he change to a plastic reed?
A: which tended to give his playing a somewhat heavier, breathier tone | C_f726b9f556564c25a23df832b054406d_0_q#9 | Is there anything else he did during this time? | 1n
| 0y
| {
"texts": [
"In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry \"Sweets\" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues."
],
"answer_starts": [
1684
]
} | {
"text": "In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry \"Sweets\" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues.",
"answer_start": 1684
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below). | C_f726b9f556564c25a23df832b054406d_1_q#0 | When did he join? | 0y
| 2x
| {
"texts": [
"In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie."
],
"answer_starts": [
0
]
} | {
"text": "In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.",
"answer_start": 0
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. | C_f726b9f556564c25a23df832b054406d_1_q#1 | How long did he stay a member? | 1n
| 2x
| {
"texts": [
"Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra."
],
"answer_starts": [
490
]
} | {
"text": "Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.",
"answer_start": 490
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. | C_f726b9f556564c25a23df832b054406d_1_q#2 | When did he leave the band? | 1n
| 2x
| {
"texts": [
"He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie."
],
"answer_starts": [
570
]
} | {
"text": "He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.",
"answer_start": 570
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. | C_f726b9f556564c25a23df832b054406d_1_q#3 | What instrument did he play? | 0y
| 2x
| {
"texts": [
"tenor sax"
],
"answer_starts": [
281
]
} | {
"text": "tenor sax",
"answer_start": 281
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.
Q: What instrument did he play?
A: tenor sax | C_f726b9f556564c25a23df832b054406d_1_q#4 | What reed did he like to use? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2098
]
} | {
"text": "unknown",
"answer_start": 2098
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.
Q: What instrument did he play?
A: tenor sax
Q: What reed did he like to use?
A: unknown | C_f726b9f556564c25a23df832b054406d_1_q#5 | Did he have conflicts with the band? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2098
]
} | {
"text": "unknown",
"answer_start": 2098
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.
Q: What instrument did he play?
A: tenor sax
Q: What reed did he like to use?
A: unknown
Q: Did he have conflicts with the band?
A: unknown | C_f726b9f556564c25a23df832b054406d_1_q#6 | What other members were in the band? | 0y
| 2x
| {
"texts": [
"While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions."
],
"answer_starts": [
667
]
} | {
"text": "While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions.",
"answer_start": 667
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.
Q: What instrument did he play?
A: tenor sax
Q: What reed did he like to use?
A: unknown
Q: Did he have conflicts with the band?
A: unknown
Q: What other members were in the band?
A: While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. | C_f726b9f556564c25a23df832b054406d_1_q#7 | How did those groups fare? | 0y
| 2x
| {
"texts": [
"Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St."
],
"answer_starts": [
1323
]
} | {
"text": "Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St.",
"answer_start": 1323
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.
Q: What instrument did he play?
A: tenor sax
Q: What reed did he like to use?
A: unknown
Q: Did he have conflicts with the band?
A: unknown
Q: What other members were in the band?
A: While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions.
Q: How did those groups fare?
A: Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. | C_f726b9f556564c25a23df832b054406d_1_q#8 | Who is Billie? | 0y
| 2x
| {
"texts": [
"Billie Holiday,"
],
"answer_starts": [
1255
]
} | {
"text": "Billie Holiday,",
"answer_start": 1255
} |
C_f726b9f556564c25a23df832b054406d_1 | Lester Young | Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. | With the Count Basie Orchestra | In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).
Q: When did he join?
A: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie.
Q: How long did he stay a member?
A: Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.
Q: When did he leave the band?
A: He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie.
Q: What instrument did he play?
A: tenor sax
Q: What reed did he like to use?
A: unknown
Q: Did he have conflicts with the band?
A: unknown
Q: What other members were in the band?
A: While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions.
Q: How did those groups fare?
A: Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St.
Q: Who is Billie?
A: Billie Holiday, | C_f726b9f556564c25a23df832b054406d_1_q#9 | What other bands was Billie in? | 0y
| 2x
| {
"texts": [
"the Kansas City Seven,"
],
"answer_starts": [
889
]
} | {
"text": "the Kansas City Seven,",
"answer_start": 889
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15." | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#0 | Where was Thalberg born? | 0y
| 2x
| {
"texts": [
"Thalberg was born in Brooklyn,"
],
"answer_starts": [
0
]
} | {
"text": "Thalberg was born in Brooklyn,",
"answer_start": 0
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15."
Q: Where was Thalberg born?
A: Thalberg was born in Brooklyn, | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#1 | When was he born? | 2m
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1739
]
} | {
"text": "unknown",
"answer_start": 1739
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15."
Q: Where was Thalberg born?
A: Thalberg was born in Brooklyn,
Q: When was he born?
A: unknown | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#2 | Who were his parents? | 0y
| 2x
| {
"texts": [
"William and Henrietta (Haymann)."
],
"answer_starts": [
67
]
} | {
"text": "William and Henrietta (Haymann).",
"answer_start": 67
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15."
Q: Where was Thalberg born?
A: Thalberg was born in Brooklyn,
Q: When was he born?
A: unknown
Q: Who were his parents?
A: William and Henrietta (Haymann). | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#3 | Did he have any siblings? | 2m
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1739
]
} | {
"text": "unknown",
"answer_start": 1739
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15."
Q: Where was Thalberg born?
A: Thalberg was born in Brooklyn,
Q: When was he born?
A: unknown
Q: Who were his parents?
A: William and Henrietta (Haymann).
Q: Did he have any siblings?
A: unknown | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#4 | Where did he attend school? | 0y
| 2x
| {
"texts": [
"During his high school years in Brooklyn,"
],
"answer_starts": [
359
]
} | {
"text": "During his high school years in Brooklyn,",
"answer_start": 359
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15."
Q: Where was Thalberg born?
A: Thalberg was born in Brooklyn,
Q: When was he born?
A: unknown
Q: Who were his parents?
A: William and Henrietta (Haymann).
Q: Did he have any siblings?
A: unknown
Q: Where did he attend school?
A: During his high school years in Brooklyn, | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#5 | What else is significant during his early years? | 0y
| 2x
| {
"texts": [
"Shortly after birth, he was diagnosed with \"blue baby syndrome,\" caused by a congenital disease that limited the oxygen supply to his heart."
],
"answer_starts": [
100
]
} | {
"text": "Shortly after birth, he was diagnosed with \"blue baby syndrome,\" caused by a congenital disease that limited the oxygen supply to his heart.",
"answer_start": 100
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_1 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Early years | Thalberg was born in Brooklyn, to German Jewish immigrant parents, William and Henrietta (Haymann). Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. The prognosis from the family's doctor and specialists was that he might live to age twenty, or at most, age thirty. During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue. This affected his ability to study, though until that time he was a good student. When he was 17, he contracted rheumatic fever, and was confined to bed for a year. His mother, Henrietta, to prevent him falling too far behind other students, brought him homework from school, books, and tutors to teach him at home. She also hoped that the schoolwork and reading would distract him from the "tantalizing sounds" of children playing outside his window. With little to entertain him, he read books as a main activity. He devoured popular novels, classics, plays, and biographies. His books, of necessity, replaced the streets of New York, and led to his interest in classical philosophy and philosophers, such as William James. When Thalberg returned to school, he finished high school but lacked the stamina for college, which he felt would have required constant late-night studying and cramming for exams. Instead, he took part-time jobs as a store clerk, and in the evenings, to gain some job skills, taught himself typing, shorthand and Spanish at a night vocational school. When he turned 18, he placed an ad with the local newspaper hoping to find better work: "Situation Wanted: Secretary, stenographer, Spanish, English, high school education, no experience; $15."
Q: Where was Thalberg born?
A: Thalberg was born in Brooklyn,
Q: When was he born?
A: unknown
Q: Who were his parents?
A: William and Henrietta (Haymann).
Q: Did he have any siblings?
A: unknown
Q: Where did he attend school?
A: During his high school years in Brooklyn,
Q: What else is significant during his early years?
A: Shortly after birth, he was diagnosed with "blue baby syndrome," caused by a congenital disease that limited the oxygen supply to his heart. | C_1cfb6ba9d9bb4992b0668e75cc3a353e_1_q#6 | What were the effects of this? | 0y
| 2x
| {
"texts": [
"During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue."
],
"answer_starts": [
359
]
} | {
"text": "During his high school years in Brooklyn, he began having attacks of chest pains, dizziness and fatigue.",
"answer_start": 359
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before." | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#0 | When did Irving start with Universal ? | 1n
| 2x
| {
"texts": [
"He found work as an office secretary at Universal Pictures'"
],
"answer_starts": [
0
]
} | {
"text": "He found work as an office secretary at Universal Pictures'",
"answer_start": 0
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Q: When did Irving start with Universal ?
A: He found work as an office secretary at Universal Pictures' | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#1 | What did the work as office secretary lead to ? | 0y
| 2x
| {
"texts": [
"and later became personal secretary to the studio's founder and president,"
],
"answer_starts": [
77
]
} | {
"text": "and later became personal secretary to the studio's founder and president,",
"answer_start": 77
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Q: When did Irving start with Universal ?
A: He found work as an office secretary at Universal Pictures'
Q: What did the work as office secretary lead to ?
A: and later became personal secretary to the studio's founder and president, | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#2 | How did becoming a personal secretary help his career ? | 2m
| 2x
| {
"texts": [
"He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle."
],
"answer_starts": [
283
]
} | {
"text": "He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.",
"answer_start": 283
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Q: When did Irving start with Universal ?
A: He found work as an office secretary at Universal Pictures'
Q: What did the work as office secretary lead to ?
A: and later became personal secretary to the studio's founder and president,
Q: How did becoming a personal secretary help his career ?
A: He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#3 | What did he get involved with films ? | 2m
| 2x
| {
"texts": [
"At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions"
],
"answer_starts": [
1188
]
} | {
"text": "At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions",
"answer_start": 1188
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Q: When did Irving start with Universal ?
A: He found work as an office secretary at Universal Pictures'
Q: What did the work as office secretary lead to ?
A: and later became personal secretary to the studio's founder and president,
Q: How did becoming a personal secretary help his career ?
A: He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.
Q: What did he get involved with films ?
A: At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#4 | What were some of these productions he oversaw ? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2440
]
} | {
"text": "unknown",
"answer_start": 2440
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Q: When did Irving start with Universal ?
A: He found work as an office secretary at Universal Pictures'
Q: What did the work as office secretary lead to ?
A: and later became personal secretary to the studio's founder and president,
Q: How did becoming a personal secretary help his career ?
A: He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.
Q: What did he get involved with films ?
A: At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions
Q: What were some of these productions he oversaw ?
A: unknown | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#5 | Did he produce any films himself ? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2440
]
} | {
"text": "unknown",
"answer_start": 2440
} |
C_1cfb6ba9d9bb4992b0668e75cc3a353e_0 | Irving Thalberg | Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini. | Universal Studios | He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
Q: When did Irving start with Universal ?
A: He found work as an office secretary at Universal Pictures'
Q: What did the work as office secretary lead to ?
A: and later became personal secretary to the studio's founder and president,
Q: How did becoming a personal secretary help his career ?
A: He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.
Q: What did he get involved with films ?
A: At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions
Q: What were some of these productions he oversaw ?
A: unknown
Q: Did he produce any films himself ?
A: unknown | C_1cfb6ba9d9bb4992b0668e75cc3a353e_0_q#6 | What else did Irving do at Universal ? | 2m
| 2x
| {
"texts": [
"nearly thirty scenarios then under development."
],
"answer_starts": [
1292
]
} | {
"text": "nearly thirty scenarios then under development.",
"answer_start": 1292
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara. | C_15f21e1c196940a0bca257c69575ab00_1_q#0 | What kind of art was the Etruscan known for? | 0y
| 2x
| {
"texts": [
"figurative sculpture in terracotta ("
],
"answer_starts": [
4316
]
} | {
"text": "figurative sculpture in terracotta (",
"answer_start": 4316
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta ( | C_15f21e1c196940a0bca257c69575ab00_1_q#1 | what shapes did they make? | 2m
| 2x
| {
"texts": [
"particularly lifesize on sarcophagi or temples"
],
"answer_starts": [
4352
]
} | {
"text": "particularly lifesize on sarcophagi or temples",
"answer_start": 4352
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta (
Q: what shapes did they make?
A: particularly lifesize on sarcophagi or temples | C_15f21e1c196940a0bca257c69575ab00_1_q#2 | are there any pieces still around today? | 2m
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
5902
]
} | {
"text": "unknown",
"answer_start": 5902
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta (
Q: what shapes did they make?
A: particularly lifesize on sarcophagi or temples
Q: are there any pieces still around today?
A: unknown | C_15f21e1c196940a0bca257c69575ab00_1_q#3 | what type of music is the Etruscan civilization known for? | 0y
| 2x
| {
"texts": [
"different types of pipes,"
],
"answer_starts": [
5626
]
} | {
"text": "different types of pipes,",
"answer_start": 5626
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta (
Q: what shapes did they make?
A: particularly lifesize on sarcophagi or temples
Q: are there any pieces still around today?
A: unknown
Q: what type of music is the Etruscan civilization known for?
A: different types of pipes, | C_15f21e1c196940a0bca257c69575ab00_1_q#4 | what types of pipes? | 2m
| 2x
| {
"texts": [
"such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes,"
],
"answer_starts": [
5652
]
} | {
"text": "such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes,",
"answer_start": 5652
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta (
Q: what shapes did they make?
A: particularly lifesize on sarcophagi or temples
Q: are there any pieces still around today?
A: unknown
Q: what type of music is the Etruscan civilization known for?
A: different types of pipes,
Q: what types of pipes?
A: such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, | C_15f21e1c196940a0bca257c69575ab00_1_q#5 | where did they play this music? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
5902
]
} | {
"text": "unknown",
"answer_start": 5902
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta (
Q: what shapes did they make?
A: particularly lifesize on sarcophagi or temples
Q: are there any pieces still around today?
A: unknown
Q: what type of music is the Etruscan civilization known for?
A: different types of pipes,
Q: what types of pipes?
A: such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes,
Q: where did they play this music?
A: unknown | C_15f21e1c196940a0bca257c69575ab00_1_q#6 | is there anything noteworthy about their art and music in this article? | 0y
| 0y
| {
"texts": [
"Etruscan art was strongly connected to religion;"
],
"answer_starts": [
5451
]
} | {
"text": "Etruscan art was strongly connected to religion;",
"answer_start": 5451
} |
C_15f21e1c196940a0bca257c69575ab00_1 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Art and music | The ancient Romans referred to the Etruscans as the Tusci or Etrusci. Their Roman name is the origin of the terms "Tuscany", which refers to their heartland, and "Etruria", which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians (Turrenoi, Turrhenoi, earlier Tursenoi Tursenoi), from which the Romans derived the names Tyrrheni, Tyrrhenia (Etruria), and Mare Tyrrhenum (Tyrrhenian Sea), prompting some to associate them with the Teresh (Sea Peoples). The word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Rasna. The origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC repeatedly associated the Tyrrhenians (Turrhenoi/Turrenoi, Tursenoi/Tursenoi) with Pelasgians. Thucydides, Herodotus and Strabo all denote Lemnos as settled by Pelasgians whom Thucydides identifies as "belonging to the Tyrrhenians" (to de pleiston Pelasgikon, ton kai Lemnon pote kai Athenas Tursenon), and although both Strabo and Herodotus agree that Tyrrhenus/Tyrsenos, son of Atys, king of Lydia, led the migration, Strabo specifies that it was the Pelasgians of Lemnos and Imbros who followed Tyrrhenus/Tyrsenos to the Italian Peninsula. The Lemnian-Pelasgian link was further manifested by the discovery of the Lemnos Stele, whose inscriptions were written in a language which shows strong structural resemblances to the language of the Tyrrhenians (Etruscans). Dionysius of Halicarnassus records a Pelasgian migration from Thessaly to the Italian peninsula, noting that "the Pelasgi made themselves masters of some of the lands belonging to the Umbri"; Herodotus describes how the Tyrrheni migrated from Lydia to the lands of the Umbri (Ombrikoi). Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates. Pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History (AD 79): Adjoining these the (Alpine) Noricans are the Raeti and Vindelici. All are divided into a number of states. The Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania. Some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the political structure of the Etruscan culture was similar to, albeit more aristocratic than, Magna Graecia in the south. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC, when Phocaeans of Italy founded colonies along the coast of Sardinia, Spain and Corsica. This led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces. In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse, Sicily. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and the area was taken over by Romans and Samnites. In the 4th century BC, Etruria saw a Gallic invasion end its influence over the Po Valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC. Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects. Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent; the Etruscans were the main export market for Greek vases. Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was strongly connected to religion; the afterlife was of major importance in Etruscan art. The Etruscan musical instruments seen in frescoes and bas-reliefs are different types of pipes, such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes, accompanied on percussion instruments such as the tintinnabulum, tympanum and crotales, and later by stringed instruments like the lyre and kithara.
Q: What kind of art was the Etruscan known for?
A: figurative sculpture in terracotta (
Q: what shapes did they make?
A: particularly lifesize on sarcophagi or temples
Q: are there any pieces still around today?
A: unknown
Q: what type of music is the Etruscan civilization known for?
A: different types of pipes,
Q: what types of pipes?
A: such as the plagiaulos (the pipes of Pan or Syrinx), the alabaster pipe and the famous double pipes,
Q: where did they play this music?
A: unknown
Q: is there anything noteworthy about their art and music in this article?
A: Etruscan art was strongly connected to religion; | C_15f21e1c196940a0bca257c69575ab00_1_q#7 | what religion were they? | 2m
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
5902
]
} | {
"text": "unknown",
"answer_start": 5902
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case. | C_15f21e1c196940a0bca257c69575ab00_0_q#0 | What language did they speak? | 2m
| 2x
| {
"texts": [
"a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,"
],
"answer_starts": [
105
]
} | {
"text": "a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,",
"answer_start": 105
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case.
Q: What language did they speak?
A: a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, | C_15f21e1c196940a0bca257c69575ab00_0_q#1 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless',"
],
"answer_starts": [
473
]
} | {
"text": "No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless',",
"answer_start": 473
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case.
Q: What language did they speak?
A: a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,
Q: Are there any other interesting aspects about this article?
A: No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', | C_15f21e1c196940a0bca257c69575ab00_0_q#2 | What is etymology? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1844
]
} | {
"text": "unknown",
"answer_start": 1844
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case.
Q: What language did they speak?
A: a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,
Q: Are there any other interesting aspects about this article?
A: No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless',
Q: What is etymology?
A: unknown | C_15f21e1c196940a0bca257c69575ab00_0_q#3 | Why did Pittau think it meant beardless? | 1n
| 2x
| {
"texts": [
"backing the opinion of ancient figurines collector and author Paolo Campidori."
],
"answer_starts": [
643
]
} | {
"text": "backing the opinion of ancient figurines collector and author Paolo Campidori.",
"answer_start": 643
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case.
Q: What language did they speak?
A: a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,
Q: Are there any other interesting aspects about this article?
A: No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless',
Q: What is etymology?
A: unknown
Q: Why did Pittau think it meant beardless?
A: backing the opinion of ancient figurines collector and author Paolo Campidori. | C_15f21e1c196940a0bca257c69575ab00_0_q#4 | Have other languages adopted any of their words? | 2m
| 0y
| {
"texts": [
"Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy,"
],
"answer_starts": [
1687
]
} | {
"text": "Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy,",
"answer_start": 1687
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case.
Q: What language did they speak?
A: a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,
Q: Are there any other interesting aspects about this article?
A: No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless',
Q: What is etymology?
A: unknown
Q: Why did Pittau think it meant beardless?
A: backing the opinion of ancient figurines collector and author Paolo Campidori.
Q: Have other languages adopted any of their words?
A: Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, | C_15f21e1c196940a0bca257c69575ab00_0_q#5 | Do they have any unique words? | 0y
| 0y
| {
"texts": [
"The phrase is turskum ..."
],
"answer_starts": [
857
]
} | {
"text": "The phrase is turskum ...",
"answer_start": 857
} |
C_15f21e1c196940a0bca257c69575ab00_0 | Etruscan civilization | The Etruscan civilization () is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria and northern Lazio. As distinguished by its unique language, this civilization endured from before the time of the earliest Etruscan inscriptions (c. 700 BC) until its assimilation into the Roman Republic, beginning in the late 4th century BC with the Roman-Etruscan Wars. Culture that is identifiably Etruscan developed in Italy after about 800 BC, approximately over the range of the preceding Iron Age Villanovan culture. The latter gave way in the 7th century BC to a culture that was influenced by Ancient Greek culture. | Language and etymology | Knowledge of the Etruscan language is still far from complete. The Etruscans are believed to have spoken a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family, which in itself is an isolate family, that is, unrelated directly to other known language groups. Since Rix (1998), it is widely accepted that the Tyrsenian family groups Raetic and Lemnian are related to Etruscan. No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless', backing the opinion of ancient figurines collector and author Paolo Campidori. The etymology of Tusci is based on a beneficiary phrase in the third Iguvine tablet, which is a major source for the Umbrian language. The phrase is turskum ... nomen, "the Tuscan name", from which a root *Tursci can be reconstructed. A metathesis and a word-initial epenthesis produce E-trus-ci. A common hypothesis is that *Turs- along with Latin turris, "tower", come from Greek tursis, "tower." The Tusci were therefore the "people who build towers" or "the tower builders." This venerable etymology is at least as old as Dionysius of Halicarnassus, who said "And there is no reason that the Greeks should not have called them by this name, both from their living in towers and from the name of one of their rulers." Giuliano and Larissa Bonfante (Bonfante, 2002) speculate that Etruscan houses seemed like towers to the simple Latins. It is true that the Etruscans preferred to build hill towns on high precipices enhanced by walls. On the other hand, if the Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy, the city of towers in that case.
Q: What language did they speak?
A: a non-Indo-European language; the majority consensus is that Etruscan is related only to other members of what is called the Tyrsenian language family,
Q: Are there any other interesting aspects about this article?
A: No etymology exists for Rasna, the Etruscans' name for themselves, although Italian historic linguist Massimo Pittau has proposed the meaning of 'Shaved' or 'Beardless',
Q: What is etymology?
A: unknown
Q: Why did Pittau think it meant beardless?
A: backing the opinion of ancient figurines collector and author Paolo Campidori.
Q: Have other languages adopted any of their words?
A: Tyrrhenian name came from an incursion of Sea Peoples or later migrants, then it might well be related to the name of Troy,
Q: Do they have any unique words?
A: The phrase is turskum ... | C_15f21e1c196940a0bca257c69575ab00_0_q#6 | What does it mean? | 2m
| 2x
| {
"texts": [
"\"the Tuscan name\", from which a root *Tursci can be reconstructed."
],
"answer_starts": [
890
]
} | {
"text": "\"the Tuscan name\", from which a root *Tursci can be reconstructed.",
"answer_start": 890
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_0 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Futurama | After spending a few years researching science fiction, Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, an animated series about life in the year 3000. By the time they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and storylines; Groening claimed they had gone "overboard" in their discussions. Groening described trying to get the show on the air as "by far the worst experience of [his] grown-up life." The show premiered on March 28, 1999. Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). After four years on the air, the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. When Comedy Central began negotiating for the rights to air Futurama reruns, Fox suggested that there was a possibility of also creating new episodes. When Comedy Central committed to sixteen new episodes, it was decided that four straight-to-DVD films - Bender's Big Score (2007), The Beast with a Billion Backs (2008), Bender's Game (2008) and Into the Wild Green Yonder (2009) - would be produced. Since no new Futurama projects were in production, the movie Into the Wild Green Yonder was designed to stand as the Futurama series finale. However, Groening had expressed a desire to continue the Futurama franchise in some form, including as a theatrical film. In an interview with CNN, Groening said that "we have a great relationship with Comedy Central and we would love to do more episodes for them, but I don't know... We're having discussions and there is some enthusiasm but I can't tell if it's just me". Comedy Central commissioned an additional 26 new episodes, and began airing them in 2010. The show continued in to 2013, before Comedy Central announced in April 2013 that they would not be renewing it beyond its seventh season. The final episode aired on September 4, 2013. | C_f3b8e9e3d21f48a999ee0f39c304a0b6_0_q#0 | How is Groening connected to Futurama? | 0y
| 2x
| {
"texts": [
"Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama,"
],
"answer_starts": [
56
]
} | {
"text": "Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama,",
"answer_start": 56
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_0 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Futurama | After spending a few years researching science fiction, Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, an animated series about life in the year 3000. By the time they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and storylines; Groening claimed they had gone "overboard" in their discussions. Groening described trying to get the show on the air as "by far the worst experience of [his] grown-up life." The show premiered on March 28, 1999. Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). After four years on the air, the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. When Comedy Central began negotiating for the rights to air Futurama reruns, Fox suggested that there was a possibility of also creating new episodes. When Comedy Central committed to sixteen new episodes, it was decided that four straight-to-DVD films - Bender's Big Score (2007), The Beast with a Billion Backs (2008), Bender's Game (2008) and Into the Wild Green Yonder (2009) - would be produced. Since no new Futurama projects were in production, the movie Into the Wild Green Yonder was designed to stand as the Futurama series finale. However, Groening had expressed a desire to continue the Futurama franchise in some form, including as a theatrical film. In an interview with CNN, Groening said that "we have a great relationship with Comedy Central and we would love to do more episodes for them, but I don't know... We're having discussions and there is some enthusiasm but I can't tell if it's just me". Comedy Central commissioned an additional 26 new episodes, and began airing them in 2010. The show continued in to 2013, before Comedy Central announced in April 2013 that they would not be renewing it beyond its seventh season. The final episode aired on September 4, 2013.
Q: How is Groening connected to Futurama?
A: Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, | C_f3b8e9e3d21f48a999ee0f39c304a0b6_0_q#1 | What is Futurama? | 0y
| 2x
| {
"texts": [
"an animated series about life in the year 3000."
],
"answer_starts": [
193
]
} | {
"text": "an animated series about life in the year 3000.",
"answer_start": 193
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_0 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Futurama | After spending a few years researching science fiction, Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, an animated series about life in the year 3000. By the time they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and storylines; Groening claimed they had gone "overboard" in their discussions. Groening described trying to get the show on the air as "by far the worst experience of [his] grown-up life." The show premiered on March 28, 1999. Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). After four years on the air, the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. When Comedy Central began negotiating for the rights to air Futurama reruns, Fox suggested that there was a possibility of also creating new episodes. When Comedy Central committed to sixteen new episodes, it was decided that four straight-to-DVD films - Bender's Big Score (2007), The Beast with a Billion Backs (2008), Bender's Game (2008) and Into the Wild Green Yonder (2009) - would be produced. Since no new Futurama projects were in production, the movie Into the Wild Green Yonder was designed to stand as the Futurama series finale. However, Groening had expressed a desire to continue the Futurama franchise in some form, including as a theatrical film. In an interview with CNN, Groening said that "we have a great relationship with Comedy Central and we would love to do more episodes for them, but I don't know... We're having discussions and there is some enthusiasm but I can't tell if it's just me". Comedy Central commissioned an additional 26 new episodes, and began airing them in 2010. The show continued in to 2013, before Comedy Central announced in April 2013 that they would not be renewing it beyond its seventh season. The final episode aired on September 4, 2013.
Q: How is Groening connected to Futurama?
A: Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama,
Q: What is Futurama?
A: an animated series about life in the year 3000. | C_f3b8e9e3d21f48a999ee0f39c304a0b6_0_q#2 | Was the show popular? | 0y
| 1n
| {
"texts": [
"the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life."
],
"answer_starts": [
773
]
} | {
"text": "the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life.",
"answer_start": 773
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_0 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Futurama | After spending a few years researching science fiction, Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, an animated series about life in the year 3000. By the time they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and storylines; Groening claimed they had gone "overboard" in their discussions. Groening described trying to get the show on the air as "by far the worst experience of [his] grown-up life." The show premiered on March 28, 1999. Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). After four years on the air, the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. When Comedy Central began negotiating for the rights to air Futurama reruns, Fox suggested that there was a possibility of also creating new episodes. When Comedy Central committed to sixteen new episodes, it was decided that four straight-to-DVD films - Bender's Big Score (2007), The Beast with a Billion Backs (2008), Bender's Game (2008) and Into the Wild Green Yonder (2009) - would be produced. Since no new Futurama projects were in production, the movie Into the Wild Green Yonder was designed to stand as the Futurama series finale. However, Groening had expressed a desire to continue the Futurama franchise in some form, including as a theatrical film. In an interview with CNN, Groening said that "we have a great relationship with Comedy Central and we would love to do more episodes for them, but I don't know... We're having discussions and there is some enthusiasm but I can't tell if it's just me". Comedy Central commissioned an additional 26 new episodes, and began airing them in 2010. The show continued in to 2013, before Comedy Central announced in April 2013 that they would not be renewing it beyond its seventh season. The final episode aired on September 4, 2013.
Q: How is Groening connected to Futurama?
A: Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama,
Q: What is Futurama?
A: an animated series about life in the year 3000.
Q: Was the show popular?
A: the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. | C_f3b8e9e3d21f48a999ee0f39c304a0b6_0_q#3 | how long was the show on? | 2m
| 2x
| {
"texts": [
"four years on the air,"
],
"answer_starts": [
750
]
} | {
"text": "four years on the air,",
"answer_start": 750
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_0 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Futurama | After spending a few years researching science fiction, Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, an animated series about life in the year 3000. By the time they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and storylines; Groening claimed they had gone "overboard" in their discussions. Groening described trying to get the show on the air as "by far the worst experience of [his] grown-up life." The show premiered on March 28, 1999. Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). After four years on the air, the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. When Comedy Central began negotiating for the rights to air Futurama reruns, Fox suggested that there was a possibility of also creating new episodes. When Comedy Central committed to sixteen new episodes, it was decided that four straight-to-DVD films - Bender's Big Score (2007), The Beast with a Billion Backs (2008), Bender's Game (2008) and Into the Wild Green Yonder (2009) - would be produced. Since no new Futurama projects were in production, the movie Into the Wild Green Yonder was designed to stand as the Futurama series finale. However, Groening had expressed a desire to continue the Futurama franchise in some form, including as a theatrical film. In an interview with CNN, Groening said that "we have a great relationship with Comedy Central and we would love to do more episodes for them, but I don't know... We're having discussions and there is some enthusiasm but I can't tell if it's just me". Comedy Central commissioned an additional 26 new episodes, and began airing them in 2010. The show continued in to 2013, before Comedy Central announced in April 2013 that they would not be renewing it beyond its seventh season. The final episode aired on September 4, 2013.
Q: How is Groening connected to Futurama?
A: Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama,
Q: What is Futurama?
A: an animated series about life in the year 3000.
Q: Was the show popular?
A: the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life.
Q: how long was the show on?
A: four years on the air, | C_f3b8e9e3d21f48a999ee0f39c304a0b6_0_q#4 | What did Groening do? | 0y
| 2x
| {
"texts": [
"Groening's writing credits for the show are for the premiere episode, \"Space Pilot 3000\" (co-written with Cohen), \"Rebirth\" (story) and \"In-A-Gadda-Da-Leela\" (story)."
],
"answer_starts": [
576
]
} | {
"text": "Groening's writing credits for the show are for the premiere episode, \"Space Pilot 3000\" (co-written with Cohen), \"Rebirth\" (story) and \"In-A-Gadda-Da-Leela\" (story).",
"answer_start": 576
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_0 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Futurama | After spending a few years researching science fiction, Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama, an animated series about life in the year 3000. By the time they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and storylines; Groening claimed they had gone "overboard" in their discussions. Groening described trying to get the show on the air as "by far the worst experience of [his] grown-up life." The show premiered on March 28, 1999. Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). After four years on the air, the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life. When Comedy Central began negotiating for the rights to air Futurama reruns, Fox suggested that there was a possibility of also creating new episodes. When Comedy Central committed to sixteen new episodes, it was decided that four straight-to-DVD films - Bender's Big Score (2007), The Beast with a Billion Backs (2008), Bender's Game (2008) and Into the Wild Green Yonder (2009) - would be produced. Since no new Futurama projects were in production, the movie Into the Wild Green Yonder was designed to stand as the Futurama series finale. However, Groening had expressed a desire to continue the Futurama franchise in some form, including as a theatrical film. In an interview with CNN, Groening said that "we have a great relationship with Comedy Central and we would love to do more episodes for them, but I don't know... We're having discussions and there is some enthusiasm but I can't tell if it's just me". Comedy Central commissioned an additional 26 new episodes, and began airing them in 2010. The show continued in to 2013, before Comedy Central announced in April 2013 that they would not be renewing it beyond its seventh season. The final episode aired on September 4, 2013.
Q: How is Groening connected to Futurama?
A: Groening got together with Simpsons writer/producer David X. Cohen (known as David S. Cohen at the time) in 1997 and developed Futurama,
Q: What is Futurama?
A: an animated series about life in the year 3000.
Q: Was the show popular?
A: the show was canceled by Fox. In a situation similar to Family Guy, however, strong DVD sales and very stable ratings on Adult Swim brought Futurama back to life.
Q: how long was the show on?
A: four years on the air,
Q: What did Groening do?
A: Groening's writing credits for the show are for the premiere episode, "Space Pilot 3000" (co-written with Cohen), "Rebirth" (story) and "In-A-Gadda-Da-Leela" (story). | C_f3b8e9e3d21f48a999ee0f39c304a0b6_0_q#5 | Did he do anything besides write? | 2m
| 2x
| {
"texts": [
"Groening and Cohen had composed many characters and storylines;"
],
"answer_starts": [
299
]
} | {
"text": "Groening and Cohen had composed many characters and storylines;",
"answer_start": 299
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_1 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Life in Hell | Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year. Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons. Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell. | C_f3b8e9e3d21f48a999ee0f39c304a0b6_1_q#0 | What is Life in Hell? | 2m
| 2x
| {
"texts": [
"self-published comic book"
],
"answer_starts": [
73
]
} | {
"text": "self-published comic book",
"answer_start": 73
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_1 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Life in Hell | Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year. Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons. Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell.
Q: What is Life in Hell?
A: self-published comic book | C_f3b8e9e3d21f48a999ee0f39c304a0b6_1_q#1 | What year was this published? | 1n
| 2x
| {
"texts": [
"1978."
],
"answer_starts": [
426
]
} | {
"text": "1978.",
"answer_start": 426
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_1 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Life in Hell | Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year. Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons. Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell.
Q: What is Life in Hell?
A: self-published comic book
Q: What year was this published?
A: 1978. | C_f3b8e9e3d21f48a999ee0f39c304a0b6_1_q#2 | Was this a one time publication or an ongoing thing? | 2m
| 2x
| {
"texts": [
"Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books,"
],
"answer_starts": [
2243
]
} | {
"text": "Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books,",
"answer_start": 2243
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_1 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Life in Hell | Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year. Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons. Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell.
Q: What is Life in Hell?
A: self-published comic book
Q: What year was this published?
A: 1978.
Q: Was this a one time publication or an ongoing thing?
A: Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, | C_f3b8e9e3d21f48a999ee0f39c304a0b6_1_q#3 | Are there any other interesting aspects about this article? | 2m
| 0y
| {
"texts": [
"Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish \"Love is Hell"
],
"answer_starts": [
1637
]
} | {
"text": "Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish \"Love is Hell",
"answer_start": 1637
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_1 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Life in Hell | Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year. Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons. Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell.
Q: What is Life in Hell?
A: self-published comic book
Q: What year was this published?
A: 1978.
Q: Was this a one time publication or an ongoing thing?
A: Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books,
Q: Are there any other interesting aspects about this article?
A: Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell | C_f3b8e9e3d21f48a999ee0f39c304a0b6_1_q#4 | Is it still being published? | 1n
| 1n
| {
"texts": [
"\" he announced that the June 16, 2012 strip would mark Life in Hell's conclusion."
],
"answer_starts": [
2550
]
} | {
"text": "\" he announced that the June 16, 2012 strip would mark Life in Hell's conclusion.",
"answer_start": 2550
} |
C_f3b8e9e3d21f48a999ee0f39c304a0b6_1 | Matt Groening | Groening was born on February 15, 1954 in Portland, Oregon, the middle of five children (older brother Mark and sister Patty were born in 1950 and 1952, while the younger sisters Lisa and Maggie in 1956 and 1958, respectively). His Norwegian American mother, Margaret Ruth (nee Wiggum; March 23, 1919 - April 22, 2013), was once a teacher, and his German Canadian father, Homer Philip Groening (December 30, 1919 - March 15, 1996), was a filmmaker, advertiser, writer and cartoonist. Homer, born in Main Centre, Saskatchewan, Canada, grew up in a Mennonite, Plautdietsch-speaking family. | Life in Hell | Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year. Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons. Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell.
Q: What is Life in Hell?
A: self-published comic book
Q: What year was this published?
A: 1978.
Q: Was this a one time publication or an ongoing thing?
A: Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books,
Q: Are there any other interesting aspects about this article?
A: Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell
Q: Is it still being published?
A: " he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. | C_f3b8e9e3d21f48a999ee0f39c304a0b6_1_q#5 | Was this a popular comic book? | 1n
| 0y
| {
"texts": [
"Life in Hell became popular almost immediately. In"
],
"answer_starts": [
1569
]
} | {
"text": " Life in Hell became popular almost immediately. In",
"answer_start": 1569
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since. | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#0 | what is the first decade? | 0y
| 2x
| {
"texts": [
"The orchestra was founded in 1945"
],
"answer_starts": [
0
]
} | {
"text": "The orchestra was founded in 1945",
"answer_start": 0
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945 | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#1 | what was its first concert or recording? | 1n
| 2x
| {
"texts": [
"Philharmonia's first concert on 25 October 1945,"
],
"answer_starts": [
795
]
} | {
"text": "Philharmonia's first concert on 25 October 1945,",
"answer_start": 795
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945
Q: what was its first concert or recording?
A: Philharmonia's first concert on 25 October 1945, | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#2 | what did they play? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
3269
]
} | {
"text": "unknown",
"answer_start": 3269
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945
Q: what was its first concert or recording?
A: Philharmonia's first concert on 25 October 1945,
Q: what did they play?
A: unknown | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#3 | who was the director? | 1n
| 2x
| {
"texts": [
"Karajan was principal conductor"
],
"answer_starts": [
1695
]
} | {
"text": "Karajan was principal conductor",
"answer_start": 1695
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945
Q: what was its first concert or recording?
A: Philharmonia's first concert on 25 October 1945,
Q: what did they play?
A: unknown
Q: who was the director?
A: Karajan was principal conductor | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#4 | who else directed? | 1n
| 2x
| {
"texts": [
"Arturo Toscanini,"
],
"answer_starts": [
1319
]
} | {
"text": "Arturo Toscanini,",
"answer_start": 1319
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945
Q: what was its first concert or recording?
A: Philharmonia's first concert on 25 October 1945,
Q: what did they play?
A: unknown
Q: who was the director?
A: Karajan was principal conductor
Q: who else directed?
A: Arturo Toscanini, | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#5 | what music did he direct? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
3269
]
} | {
"text": "unknown",
"answer_start": 3269
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945
Q: what was its first concert or recording?
A: Philharmonia's first concert on 25 October 1945,
Q: what did they play?
A: unknown
Q: who was the director?
A: Karajan was principal conductor
Q: who else directed?
A: Arturo Toscanini,
Q: what music did he direct?
A: unknown | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#6 | did the orchestra record any soundtracks? | 1n
| 0y
| {
"texts": [
"\"Indian summer\""
],
"answer_starts": [
2204
]
} | {
"text": "\"Indian summer\"",
"answer_start": 2204
} |
C_3a8c970dc74a4bdb9e8d6f00eea63e33_1 | Philharmonia Orchestra | The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a classical music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall. The Philharmonia also has residencies at De Montfort Hall, Leicester; the Marlowe Theatre, Canterbury; the Corn Exchange, Bedford; and The Anvil, Basingstoke. | Early decades | The orchestra was founded in 1945 by Walter Legge. As Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legge's intention. He had been Sir Thomas Beecham's assistant at the Royal Opera House, Covent Garden, before World War II, and, assuming that he and Beecham would be in charge there again after the war, Legge planned to establish a first-class orchestra for opera, concerts and recordings. After the war, opera resumed at Covent Garden under a different management, but Legge went ahead with his plans for a new orchestra. His contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonia's first concert on 25 October 1945, more than sixty per cent of the players were still officially in the services. Beecham conducted the concert (for the fee of one cigar), but as he refused to be Legge's employee and Legge refused to cede control of the orchestra, Beecham instead went on to found the Royal Philharmonic Orchestra. In its early years, with financial support of the Last Maharaja of Mysore, Jayachamaraja Wodeyar Bahadur (1919-1974), the orchestra engaged many prominent conductors, including Arturo Toscanini, Richard Strauss and Wilhelm Furtwangler. Herbert von Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. At first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name. He built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected music director of the Berlin Philharmonic Orchestra and subsequently curtailed his work with the Philharmonia. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, whose career was flagging at the time. Klemperer's name became closely linked with the orchestra during an "Indian summer" of celebrated recordings. In 1959, Klemperer was named music director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra. At a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. Klemperer gave his immediate support. On 17 March 1964, the members of the orchestra elected their own governing body and adopted the name New Philharmonia Orchestra. The inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethoven's Symphony No. 9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, Gareth Morris. The orchestra gave many more live performances after it became self-governing than it had under Legge's management. It reacquired the rights to the name "Philharmonia Orchestra" in 1977, and has been known by that name ever since.
Q: what is the first decade?
A: The orchestra was founded in 1945
Q: what was its first concert or recording?
A: Philharmonia's first concert on 25 October 1945,
Q: what did they play?
A: unknown
Q: who was the director?
A: Karajan was principal conductor
Q: who else directed?
A: Arturo Toscanini,
Q: what music did he direct?
A: unknown
Q: did the orchestra record any soundtracks?
A: "Indian summer" | C_3a8c970dc74a4bdb9e8d6f00eea63e33_1_q#7 | did they record anything else? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
3269
]
} | {
"text": "unknown",
"answer_start": 3269
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound. | C_459f6c31567045bf935d4dc5879b2490_0_q#0 | When was Fast Cars released? | 0y
| 0y
| {
"texts": [
"In February 2005,"
],
"answer_starts": [
0
]
} | {
"text": "In February 2005,",
"answer_start": 0
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005, | C_459f6c31567045bf935d4dc5879b2490_0_q#1 | Did anything interesting happen during this release? | 0y
| 0y
| {
"texts": [
"The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP"
],
"answer_starts": [
84
]
} | {
"text": "The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP",
"answer_start": 84
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005,
Q: Did anything interesting happen during this release?
A: The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP | C_459f6c31567045bf935d4dc5879b2490_0_q#2 | Were there later pressings as well? | 0y
| 1n
| {
"texts": [
"later pressings of the album come without the booklet, but with an additional bonus track, \"Facemelter\"."
],
"answer_starts": [
264
]
} | {
"text": "later pressings of the album come without the booklet, but with an additional bonus track, \"Facemelter\".",
"answer_start": 264
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005,
Q: Did anything interesting happen during this release?
A: The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP
Q: Were there later pressings as well?
A: later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". | C_459f6c31567045bf935d4dc5879b2490_0_q#3 | What happened with Nike Ipod? | 0y
| 0y
| {
"texts": [
"Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system,"
],
"answer_starts": [
720
]
} | {
"text": "Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system,",
"answer_start": 720
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005,
Q: Did anything interesting happen during this release?
A: The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP
Q: Were there later pressings as well?
A: later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter".
Q: What happened with Nike Ipod?
A: Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, | C_459f6c31567045bf935d4dc5879b2490_0_q#4 | What was special about this track? | 0y
| 0y
| {
"texts": [
"It was released in February 2007. Distributed via the iTunes Music Store"
],
"answer_starts": [
841
]
} | {
"text": "It was released in February 2007. Distributed via the iTunes Music Store",
"answer_start": 841
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005,
Q: Did anything interesting happen during this release?
A: The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP
Q: Were there later pressings as well?
A: later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter".
Q: What happened with Nike Ipod?
A: Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system,
Q: What was special about this track?
A: It was released in February 2007. Distributed via the iTunes Music Store | C_459f6c31567045bf935d4dc5879b2490_0_q#5 | How did he feel about this track? | 0y
| 0y
| {
"texts": [
"Aesop has described the release as \"something that evolved enough that the sound was constantly fresh and attractive,"
],
"answer_starts": [
992
]
} | {
"text": "Aesop has described the release as \"something that evolved enough that the sound was constantly fresh and attractive,",
"answer_start": 992
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005,
Q: Did anything interesting happen during this release?
A: The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP
Q: Were there later pressings as well?
A: later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter".
Q: What happened with Nike Ipod?
A: Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system,
Q: What was special about this track?
A: It was released in February 2007. Distributed via the iTunes Music Store
Q: How did he feel about this track?
A: Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, | C_459f6c31567045bf935d4dc5879b2490_0_q#6 | When did None Shall Pass come along? | 0y
| 0y
| {
"texts": [
"None Shall Pass released in 2007."
],
"answer_starts": [
1279
]
} | {
"text": "None Shall Pass released in 2007.",
"answer_start": 1279
} |
C_459f6c31567045bf935d4dc5879b2490_0 | Aesop Rock | Ian Matthias Bavitz (born June 5, 1976), better known by his stage name Aesop Rock, is an American hip hop recording artist and producer residing in Portland, Oregon. He was at the forefront of the new wave of underground and alternative hip hop acts that emerged during the late 1990s and early 2000s. He was signed to El-P's Definitive Jux label until it went on hiatus in 2010. betterPropaganda ranked him at number 19 at the Top 100 Artists of the Decade. | 2005-2007: Fast Cars EP, None Shall Pass, Nike+iPod | In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter". In addition, a limited number of albums were available direct from Def Jux with Aesop Rock's graffiti tag on them. In response to demands from his fans, Rock did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic. During this time he was asked to join The Weathermen to replace Vast Aire. Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring his wife Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes." All Day was followed in August of the same year by Bavitz's fifth full-length album, None Shall Pass released in 2007. The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: "Man that guy is my hero. We have a friend in common who hit me up a while back saying that this guy Jeremy Fish had an opportunity to pitch a cartoon to Disney and wanted me to be involved in the music side. I flipped out cuz I was also a fan of his, and owned some of his work." Aesop Rock also teamed up with Jeremy Fish again in a project called Ghosts of the Barbary Coast. Aesop Rock made a song called "Tomorrow Morning", to go along with a slideshow of drawings that Jeremy Fish drew. This was displayed in San Francisco, but was also made available for download online. None Shall Pass had positive reviews from critics and fans, applauding Aesop for his change in sound.
Q: When was Fast Cars released?
A: In February 2005,
Q: Did anything interesting happen during this release?
A: The first pressing of the EP included an 88-page booklet with lyrics from every release from Float until this EP
Q: Were there later pressings as well?
A: later pressings of the album come without the booklet, but with an additional bonus track, "Facemelter".
Q: What happened with Nike Ipod?
A: Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system,
Q: What was special about this track?
A: It was released in February 2007. Distributed via the iTunes Music Store
Q: How did he feel about this track?
A: Aesop has described the release as "something that evolved enough that the sound was constantly fresh and attractive,
Q: When did None Shall Pass come along?
A: None Shall Pass released in 2007. | C_459f6c31567045bf935d4dc5879b2490_0_q#7 | What interesting things happened during this album release? | 0y
| 0y
| {
"texts": [
"The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: \"Man that guy is my hero."
],
"answer_starts": [
1313
]
} | {
"text": "The album also contained original artwork by Jeremy Fish. About Jeremy Fish, Aesop Rock said: \"Man that guy is my hero.",
"answer_start": 1313
} |
C_365c6134db2c45cb96f35f5b84dddb71_1 | Nicole Kidman | Kidman was born 20 June 1967 in Honolulu, Hawaii, while her Australian parents were temporarily in the United States on student visas. Her father was Antony Kidman (1938-2014), a biochemist, clinical psychologist and author, who died of a heart attack in Singapore aged 75. Her mother, Janelle Ann (nee Glenny), is a nursing instructor who edited her husband's books and was a member of the Women's Electoral Lobby. Kidman's ancestry includes Irish, Scottish and English heritage. | Relationships and children | Kidman has been married twice: previously to actor Tom Cruise, and currently to country singer Keith Urban. She has an adopted son and daughter with Cruise as well as two biological daughters with Urban. Kidman met Cruise in November 1989, while filming Days of Thunder, they were married on Christmas Eve 1990 in Telluride, Colorado. The couple adopted a daughter, Isabella Jane (born 1992), and a son, Connor Anthony (born 1995). On 5 February 2001, the couple's spokesperson announced their separation. Cruise filed for divorce two days later, and the marriage was dissolved in August of that year, with Cruise citing irreconcilable differences. In a 2007 interview with Marie Claire, Kidman noted the incorrect reporting of the ectopic pregnancy early in her marriage. "It was wrongly reported as miscarriage, by everyone who picked up the story." "So it's huge news, and it didn't happen." In the June 2006 issue of Ladies' Home Journal, she said she still loved Cruise: "He was huge; still is. To me, he was just Tom, but to everybody else, he is huge. But he was lovely to me and I loved him. I still love him." In addition, she has expressed shock about their divorce. In 2015, former Church of Scientology executive Mark Rathbun claimed in a documentary film that he was instructed to "facilitate [Cruise's] breakup with Nicole Kidman". Cruise's auditor further claimed Kidman had been wiretapped on Cruise's suggestion. Prior to marrying Cruise, Kidman had been involved in relationships with Australian actor Marcus Graham and Windrider (1986) co-star Tom Burlinson. She was also said to be involved with Adrien Brody. The film Cold Mountain brought rumours that an affair between Kidman and co-star Jude Law was responsible for the break-up of his marriage. Both denied the allegations, and Kidman won an undisclosed sum from the British tabloids that published the story. She met musician Lenny Kravitz in 2003 and dated him into 2004. Robbie Williams confirmed he had a short romance with Kidman on her yacht in summer 2004. In a 2007 Vanity Fair interview, Kidman revealed that she had been secretly engaged to someone prior to her present relationship to New Zealand-Australian country singer Keith Urban, whom she met at G'Day LA, an event honouring Australians, in January 2005. Kidman married Urban on 25 June 2006, at Cardinal Cerretti Memorial Chapel in the grounds of St Patrick's Estate, Manly in Sydney. In an interview in 2015, Kidman said, "We didn't really know each other - we got to know each other during our marriage." They maintain homes in Sydney, Sutton Forest (New South Wales, Australia), Los Angeles, and Nashville (Tennessee, USA). The couple's first daughter was born in 2008, in Nashville. In 2010, Kidman and Urban had their second daughter via surrogacy at Nashville's Centennial Women's Hospital. In an on-stage interview by Tina Brown at the 2015 Women in the World (WITW) conference, Kidman stated that she turned her attention to her career after her divorce from Tom Cruise: "Out of my divorce came work that was applauded so that was an interesting thing for me", and led to her Academy Award in 2002. | C_365c6134db2c45cb96f35f5b84dddb71_1_q#0 | what relationships did nicole have? | 0y
| 2x
| {
"texts": [
"Kidman has been married twice: previously to actor Tom Cruise,"
],
"answer_starts": [
0
]
} | {
"text": "Kidman has been married twice: previously to actor Tom Cruise,",
"answer_start": 0
} |
C_365c6134db2c45cb96f35f5b84dddb71_1 | Nicole Kidman | Kidman was born 20 June 1967 in Honolulu, Hawaii, while her Australian parents were temporarily in the United States on student visas. Her father was Antony Kidman (1938-2014), a biochemist, clinical psychologist and author, who died of a heart attack in Singapore aged 75. Her mother, Janelle Ann (nee Glenny), is a nursing instructor who edited her husband's books and was a member of the Women's Electoral Lobby. Kidman's ancestry includes Irish, Scottish and English heritage. | Relationships and children | Kidman has been married twice: previously to actor Tom Cruise, and currently to country singer Keith Urban. She has an adopted son and daughter with Cruise as well as two biological daughters with Urban. Kidman met Cruise in November 1989, while filming Days of Thunder, they were married on Christmas Eve 1990 in Telluride, Colorado. The couple adopted a daughter, Isabella Jane (born 1992), and a son, Connor Anthony (born 1995). On 5 February 2001, the couple's spokesperson announced their separation. Cruise filed for divorce two days later, and the marriage was dissolved in August of that year, with Cruise citing irreconcilable differences. In a 2007 interview with Marie Claire, Kidman noted the incorrect reporting of the ectopic pregnancy early in her marriage. "It was wrongly reported as miscarriage, by everyone who picked up the story." "So it's huge news, and it didn't happen." In the June 2006 issue of Ladies' Home Journal, she said she still loved Cruise: "He was huge; still is. To me, he was just Tom, but to everybody else, he is huge. But he was lovely to me and I loved him. I still love him." In addition, she has expressed shock about their divorce. In 2015, former Church of Scientology executive Mark Rathbun claimed in a documentary film that he was instructed to "facilitate [Cruise's] breakup with Nicole Kidman". Cruise's auditor further claimed Kidman had been wiretapped on Cruise's suggestion. Prior to marrying Cruise, Kidman had been involved in relationships with Australian actor Marcus Graham and Windrider (1986) co-star Tom Burlinson. She was also said to be involved with Adrien Brody. The film Cold Mountain brought rumours that an affair between Kidman and co-star Jude Law was responsible for the break-up of his marriage. Both denied the allegations, and Kidman won an undisclosed sum from the British tabloids that published the story. She met musician Lenny Kravitz in 2003 and dated him into 2004. Robbie Williams confirmed he had a short romance with Kidman on her yacht in summer 2004. In a 2007 Vanity Fair interview, Kidman revealed that she had been secretly engaged to someone prior to her present relationship to New Zealand-Australian country singer Keith Urban, whom she met at G'Day LA, an event honouring Australians, in January 2005. Kidman married Urban on 25 June 2006, at Cardinal Cerretti Memorial Chapel in the grounds of St Patrick's Estate, Manly in Sydney. In an interview in 2015, Kidman said, "We didn't really know each other - we got to know each other during our marriage." They maintain homes in Sydney, Sutton Forest (New South Wales, Australia), Los Angeles, and Nashville (Tennessee, USA). The couple's first daughter was born in 2008, in Nashville. In 2010, Kidman and Urban had their second daughter via surrogacy at Nashville's Centennial Women's Hospital. In an on-stage interview by Tina Brown at the 2015 Women in the World (WITW) conference, Kidman stated that she turned her attention to her career after her divorce from Tom Cruise: "Out of my divorce came work that was applauded so that was an interesting thing for me", and led to her Academy Award in 2002.
Q: what relationships did nicole have?
A: Kidman has been married twice: previously to actor Tom Cruise, | C_365c6134db2c45cb96f35f5b84dddb71_1_q#1 | and to who after tom cruise? | 0y
| 2x
| {
"texts": [
"and currently to country singer Keith Urban. She has an adopted"
],
"answer_starts": [
63
]
} | {
"text": "and currently to country singer Keith Urban. She has an adopted",
"answer_start": 63
} |
C_365c6134db2c45cb96f35f5b84dddb71_1 | Nicole Kidman | Kidman was born 20 June 1967 in Honolulu, Hawaii, while her Australian parents were temporarily in the United States on student visas. Her father was Antony Kidman (1938-2014), a biochemist, clinical psychologist and author, who died of a heart attack in Singapore aged 75. Her mother, Janelle Ann (nee Glenny), is a nursing instructor who edited her husband's books and was a member of the Women's Electoral Lobby. Kidman's ancestry includes Irish, Scottish and English heritage. | Relationships and children | Kidman has been married twice: previously to actor Tom Cruise, and currently to country singer Keith Urban. She has an adopted son and daughter with Cruise as well as two biological daughters with Urban. Kidman met Cruise in November 1989, while filming Days of Thunder, they were married on Christmas Eve 1990 in Telluride, Colorado. The couple adopted a daughter, Isabella Jane (born 1992), and a son, Connor Anthony (born 1995). On 5 February 2001, the couple's spokesperson announced their separation. Cruise filed for divorce two days later, and the marriage was dissolved in August of that year, with Cruise citing irreconcilable differences. In a 2007 interview with Marie Claire, Kidman noted the incorrect reporting of the ectopic pregnancy early in her marriage. "It was wrongly reported as miscarriage, by everyone who picked up the story." "So it's huge news, and it didn't happen." In the June 2006 issue of Ladies' Home Journal, she said she still loved Cruise: "He was huge; still is. To me, he was just Tom, but to everybody else, he is huge. But he was lovely to me and I loved him. I still love him." In addition, she has expressed shock about their divorce. In 2015, former Church of Scientology executive Mark Rathbun claimed in a documentary film that he was instructed to "facilitate [Cruise's] breakup with Nicole Kidman". Cruise's auditor further claimed Kidman had been wiretapped on Cruise's suggestion. Prior to marrying Cruise, Kidman had been involved in relationships with Australian actor Marcus Graham and Windrider (1986) co-star Tom Burlinson. She was also said to be involved with Adrien Brody. The film Cold Mountain brought rumours that an affair between Kidman and co-star Jude Law was responsible for the break-up of his marriage. Both denied the allegations, and Kidman won an undisclosed sum from the British tabloids that published the story. She met musician Lenny Kravitz in 2003 and dated him into 2004. Robbie Williams confirmed he had a short romance with Kidman on her yacht in summer 2004. In a 2007 Vanity Fair interview, Kidman revealed that she had been secretly engaged to someone prior to her present relationship to New Zealand-Australian country singer Keith Urban, whom she met at G'Day LA, an event honouring Australians, in January 2005. Kidman married Urban on 25 June 2006, at Cardinal Cerretti Memorial Chapel in the grounds of St Patrick's Estate, Manly in Sydney. In an interview in 2015, Kidman said, "We didn't really know each other - we got to know each other during our marriage." They maintain homes in Sydney, Sutton Forest (New South Wales, Australia), Los Angeles, and Nashville (Tennessee, USA). The couple's first daughter was born in 2008, in Nashville. In 2010, Kidman and Urban had their second daughter via surrogacy at Nashville's Centennial Women's Hospital. In an on-stage interview by Tina Brown at the 2015 Women in the World (WITW) conference, Kidman stated that she turned her attention to her career after her divorce from Tom Cruise: "Out of my divorce came work that was applauded so that was an interesting thing for me", and led to her Academy Award in 2002.
Q: what relationships did nicole have?
A: Kidman has been married twice: previously to actor Tom Cruise,
Q: and to who after tom cruise?
A: and currently to country singer Keith Urban. She has an adopted | C_365c6134db2c45cb96f35f5b84dddb71_1_q#2 | she has an adopted what? | 0y
| 2x
| {
"texts": [
"She has an adopted son and daughter with Cruise as well as two"
],
"answer_starts": [
108
]
} | {
"text": "She has an adopted son and daughter with Cruise as well as two",
"answer_start": 108
} |