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C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces. | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#0 | Which year Cabral prepared for war for independence? | 0y
| 2x
| {
"texts": [
"From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,"
],
"answer_starts": [
0
]
} | {
"text": "From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,",
"answer_start": 0
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#1 | How did he plan his movement? | 2m
| 2x
| {
"texts": [
"as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau."
],
"answer_starts": [
362
]
} | {
"text": "as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.",
"answer_start": 362
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,
Q: How did he plan his movement?
A: as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#2 | How much resistance he faced? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1893
]
} | {
"text": "unknown",
"answer_start": 1893
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,
Q: How did he plan his movement?
A: as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.
Q: How much resistance he faced?
A: unknown | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#3 | What he did for the war for independence? | 0y
| 2x
| {
"texts": [
"he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe,"
],
"answer_starts": [
1010
]
} | {
"text": "he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe,",
"answer_start": 1010
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,
Q: How did he plan his movement?
A: as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.
Q: How much resistance he faced?
A: unknown
Q: What he did for the war for independence?
A: he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#4 | Did he peruse more strategies? | 1n
| 0y
| {
"texts": [
"When not fighting, PAIGC soldiers would till and plow the fields alongside the local population."
],
"answer_starts": [
1238
]
} | {
"text": "When not fighting, PAIGC soldiers would till and plow the fields alongside the local population.",
"answer_start": 1238
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,
Q: How did he plan his movement?
A: as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.
Q: How much resistance he faced?
A: unknown
Q: What he did for the war for independence?
A: he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe,
Q: Did he peruse more strategies?
A: When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#5 | How the war of independence ended? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1893
]
} | {
"text": "unknown",
"answer_start": 1893
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,
Q: How did he plan his movement?
A: as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.
Q: How much resistance he faced?
A: unknown
Q: What he did for the war for independence?
A: he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe,
Q: Did he peruse more strategies?
A: When not fighting, PAIGC soldiers would till and plow the fields alongside the local population.
Q: How the war of independence ended?
A: unknown | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#6 | Are there any other interesting aspects about this article? | 2m
| 0y
| {
"texts": [
"Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills"
],
"answer_starts": [
619
]
} | {
"text": "Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills",
"answer_start": 619
} |
C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1 | Amílcar Cabral | Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders. | War for independence | From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.
Q: Which year Cabral prepared for war for independence?
A: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,
Q: How did he plan his movement?
A: as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.
Q: How much resistance he faced?
A: unknown
Q: What he did for the war for independence?
A: he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe,
Q: Did he peruse more strategies?
A: When not fighting, PAIGC soldiers would till and plow the fields alongside the local population.
Q: How the war of independence ended?
A: unknown
Q: Are there any other interesting aspects about this article?
A: Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills | C_cbf5e95cf1c74ee6b97b5ff6895c8e77_1_q#7 | What other strategies he took? | 2m
| 2x
| {
"texts": [
"set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace,"
],
"answer_starts": [
1563
]
} | {
"text": "set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace,",
"answer_start": 1563
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer. | C_b3aa73b438274e57af539aa6c6c52cec_1_q#0 | what was the 1st life performance | 0y
| 2x
| {
"texts": [
"spanned their Head Trauma (1987-1988),"
],
"answer_starts": [
152
]
} | {
"text": "spanned their Head Trauma (1987-1988),",
"answer_start": 152
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988), | C_b3aa73b438274e57af539aa6c6c52cec_1_q#1 | what year did they tour | 0y
| 0y
| {
"texts": [
"1992"
],
"answer_starts": [
249
]
} | {
"text": "1992",
"answer_start": 249
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988),
Q: what year did they tour
A: 1992 | C_b3aa73b438274e57af539aa6c6c52cec_1_q#2 | what type of music do they make | 0y
| 2x
| {
"texts": [
"Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,"
],
"answer_starts": [
0
]
} | {
"text": "Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,",
"answer_start": 0
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988),
Q: what year did they tour
A: 1992
Q: what type of music do they make
A: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, | C_b3aa73b438274e57af539aa6c6c52cec_1_q#3 | who did they have connections with in the music world | 0y
| 2x
| {
"texts": [
"Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel,"
],
"answer_starts": [
2002
]
} | {
"text": "Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel,",
"answer_start": 2002
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988),
Q: what year did they tour
A: 1992
Q: what type of music do they make
A: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,
Q: who did they have connections with in the music world
A: Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, | C_b3aa73b438274e57af539aa6c6c52cec_1_q#4 | who is someone they made music with | 0y
| 2x
| {
"texts": [
"They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer."
],
"answer_starts": [
2198
]
} | {
"text": "They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.",
"answer_start": 2198
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988),
Q: what year did they tour
A: 1992
Q: what type of music do they make
A: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,
Q: who did they have connections with in the music world
A: Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel,
Q: who is someone they made music with
A: They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer. | C_b3aa73b438274e57af539aa6c6c52cec_1_q#5 | any other groups or bands they have connections with | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2293
]
} | {
"text": "unknown",
"answer_start": 2293
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988),
Q: what year did they tour
A: 1992
Q: what type of music do they make
A: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,
Q: who did they have connections with in the music world
A: Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel,
Q: who is someone they made music with
A: They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: any other groups or bands they have connections with
A: unknown | C_b3aa73b438274e57af539aa6c6c52cec_1_q#6 | who did they look up to | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2293
]
} | {
"text": "unknown",
"answer_start": 2293
} |
C_b3aa73b438274e57af539aa6c6c52cec_1 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Live performances | Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: what was the 1st life performance
A: spanned their Head Trauma (1987-1988),
Q: what year did they tour
A: 1992
Q: what type of music do they make
A: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,
Q: who did they have connections with in the music world
A: Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel,
Q: who is someone they made music with
A: They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.
Q: any other groups or bands they have connections with
A: unknown
Q: who did they look up to
A: unknown | C_b3aa73b438274e57af539aa6c6c52cec_1_q#7 | what time period did they begin to get big | 0y
| 2x
| {
"texts": [
"1990"
],
"answer_starts": [
225
]
} | {
"text": "1990",
"answer_start": 225
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music. | C_b3aa73b438274e57af539aa6c6c52cec_0_q#0 | What were their greatest influencer? | 0y
| 0y
| {
"texts": [
"industrial and electronic music"
],
"answer_starts": [
130
]
} | {
"text": "industrial and electronic music",
"answer_start": 130
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music | C_b3aa73b438274e57af539aa6c6c52cec_0_q#1 | Did they have any person who influenced them? | 0y
| 0y
| {
"texts": [
"Nine Inch Nails"
],
"answer_starts": [
506
]
} | {
"text": "Nine Inch Nails",
"answer_start": 506
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music
Q: Did they have any person who influenced them?
A: Nine Inch Nails | C_b3aa73b438274e57af539aa6c6c52cec_0_q#2 | How did they influence them? | 0y
| 0y
| {
"texts": [
"on her music,"
],
"answer_starts": [
802
]
} | {
"text": "on her music,",
"answer_start": 802
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music
Q: Did they have any person who influenced them?
A: Nine Inch Nails
Q: How did they influence them?
A: on her music, | C_b3aa73b438274e57af539aa6c6c52cec_0_q#3 | Did she preform with anyone? | 0y
| 0y
| {
"texts": [
"DJ Josh Wink,"
],
"answer_starts": [
1653
]
} | {
"text": "DJ Josh Wink,",
"answer_start": 1653
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music
Q: Did they have any person who influenced them?
A: Nine Inch Nails
Q: How did they influence them?
A: on her music,
Q: Did she preform with anyone?
A: DJ Josh Wink, | C_b3aa73b438274e57af539aa6c6c52cec_0_q#4 | Are there any other interesting aspects about this article? | 2m
| 0y
| {
"texts": [
"contributions from a wide array of musicians"
],
"answer_starts": [
1583
]
} | {
"text": "contributions from a wide array of musicians",
"answer_start": 1583
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music
Q: Did they have any person who influenced them?
A: Nine Inch Nails
Q: How did they influence them?
A: on her music,
Q: Did she preform with anyone?
A: DJ Josh Wink,
Q: Are there any other interesting aspects about this article?
A: contributions from a wide array of musicians | C_b3aa73b438274e57af539aa6c6c52cec_0_q#5 | Can you tell me more about the contributions? | 0y
| 0y
| {
"texts": [
"Wayne Static of Static-X provided drums and backup vocals, respectively, for the song \"Use Less\" from The Greater Wrong of the Right."
],
"answer_starts": [
1860
]
} | {
"text": "Wayne Static of Static-X provided drums and backup vocals, respectively, for the song \"Use Less\" from The Greater Wrong of the Right.",
"answer_start": 1860
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music
Q: Did they have any person who influenced them?
A: Nine Inch Nails
Q: How did they influence them?
A: on her music,
Q: Did she preform with anyone?
A: DJ Josh Wink,
Q: Are there any other interesting aspects about this article?
A: contributions from a wide array of musicians
Q: Can you tell me more about the contributions?
A: Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. | C_b3aa73b438274e57af539aa6c6c52cec_0_q#6 | Where there any other influencers? | 0y
| 0y
| {
"texts": [
"KMFDM"
],
"answer_starts": [
1673
]
} | {
"text": "KMFDM",
"answer_start": 1673
} |
C_b3aa73b438274e57af539aa6c6c52cec_0 | Skinny Puppy | Skinny Puppy is a Canadian industrial music group formed in Vancouver, British Columbia in 1982. The group is widely considered to be one of the founders of the electro-industrial genre. Initially envisioned as an experimental side project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie). Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. | Influence and legacy | Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.
Q: What were their greatest influencer?
A: industrial and electronic music
Q: Did they have any person who influenced them?
A: Nine Inch Nails
Q: How did they influence them?
A: on her music,
Q: Did she preform with anyone?
A: DJ Josh Wink,
Q: Are there any other interesting aspects about this article?
A: contributions from a wide array of musicians
Q: Can you tell me more about the contributions?
A: Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right.
Q: Where there any other influencers?
A: KMFDM | C_b3aa73b438274e57af539aa6c6c52cec_0_q#7 | what is KMFDM? | 0y
| 0y
| {
"texts": [
"Ogre worked with KMFDM on several occasions, touring with them"
],
"answer_starts": [
1995
]
} | {
"text": "Ogre worked with KMFDM on several occasions, touring with them",
"answer_start": 1995
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#0 | when was it created? | 0y
| 2x
| {
"texts": [
"(1959),"
],
"answer_starts": [
247
]
} | {
"text": "(1959),",
"answer_start": 247
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959), | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#1 | how was it created? | 0y
| 2x
| {
"texts": [
"), Charles was influenced by the genre in his youth, stating that he \"used to play piano in a hillbilly band\""
],
"answer_starts": [
252
]
} | {
"text": "), Charles was influenced by the genre in his youth, stating that he \"used to play piano in a hillbilly band\"",
"answer_start": 252
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#2 | what genre was that? | 0y
| 2x
| {
"texts": [
"country music"
],
"answer_starts": [
176
]
} | {
"text": "country music",
"answer_start": 176
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#3 | did he have any other influences? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2615
]
} | {
"text": "unknown",
"answer_start": 2615
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music
Q: did he have any other influences?
A: unknown | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#4 | what was special about the conception? | 0y
| 2x
| {
"texts": [
"meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social"
],
"answer_starts": [
2047
]
} | {
"text": "meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social",
"answer_start": 2047
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music
Q: did he have any other influences?
A: unknown
Q: what was special about the conception?
A: meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#5 | test of social what? | 0y
| 2x
| {
"texts": [
"social tolerance among listeners amid racial distinctions of country and R&B."
],
"answer_starts": [
2169
]
} | {
"text": "social tolerance among listeners amid racial distinctions of country and R&B.",
"answer_start": 2169
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music
Q: did he have any other influences?
A: unknown
Q: what was special about the conception?
A: meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social
Q: test of social what?
A: social tolerance among listeners amid racial distinctions of country and R&B. | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#6 | what label did he go with? | 0y
| 2x
| {
"texts": [
"his own Tangerine label,"
],
"answer_starts": [
2479
]
} | {
"text": "his own Tangerine label,",
"answer_start": 2479
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music
Q: did he have any other influences?
A: unknown
Q: what was special about the conception?
A: meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social
Q: test of social what?
A: social tolerance among listeners amid racial distinctions of country and R&B.
Q: what label did he go with?
A: his own Tangerine label, | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#7 | did he produce an album? | 0y
| 0y
| {
"texts": [
"distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives."
],
"answer_starts": [
2214
]
} | {
"text": "distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives.",
"answer_start": 2214
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music
Q: did he have any other influences?
A: unknown
Q: what was special about the conception?
A: meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social
Q: test of social what?
A: social tolerance among listeners amid racial distinctions of country and R&B.
Q: what label did he go with?
A: his own Tangerine label,
Q: did he produce an album?
A: distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#8 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music."
],
"answer_starts": [
2504
]
} | {
"text": "Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.",
"answer_start": 2504
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_1 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Conception | Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Q: when was it created?
A: (1959),
Q: how was it created?
A: ), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"
Q: what genre was that?
A: country music
Q: did he have any other influences?
A: unknown
Q: what was special about the conception?
A: meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social
Q: test of social what?
A: social tolerance among listeners amid racial distinctions of country and R&B.
Q: what label did he go with?
A: his own Tangerine label,
Q: did he produce an album?
A: distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives.
Q: Are there any other interesting aspects about this article?
A: Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. | C_17e438ca08e34c9dbe8e23022e2c5ee0_1_q#9 | was the album successful? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2615
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} | {
"text": "unknown",
"answer_start": 2615
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#0 | What was recording like | 0y
| 2x
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"texts": [
"The recording sessions for the album took place at three sessions in mid-February 1962."
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"answer_starts": [
221
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"text": "The recording sessions for the album took place at three sessions in mid-February 1962.",
"answer_start": 221
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C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#1 | What was the name of the album | 0y
| 2x
| {
"texts": [
"Modern Sounds in Country and Western Music."
],
"answer_starts": [
1096
]
} | {
"text": "Modern Sounds in Country and Western Music.",
"answer_start": 1096
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C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#2 | Did it hit the billboards | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2196
]
} | {
"text": "unknown",
"answer_start": 2196
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#3 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music."
],
"answer_starts": [
1018
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"text": "Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.",
"answer_start": 1018
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown
Q: Are there any other interesting aspects about this article?
A: Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#4 | What else was he known for | 0y
| 2x
| {
"texts": [
"While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence."
],
"answer_starts": [
1304
]
} | {
"text": "While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence.",
"answer_start": 1304
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown
Q: Are there any other interesting aspects about this article?
A: Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.
Q: What else was he known for
A: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#5 | What was his western music like | 0y
| 2x
| {
"texts": [
"Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds."
],
"answer_starts": [
1890
]
} | {
"text": "Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds.",
"answer_start": 1890
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C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown
Q: Are there any other interesting aspects about this article?
A: Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.
Q: What else was he known for
A: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence.
Q: What was his western music like
A: Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#6 | How did they react | 0y
| 2x
| {
"texts": [
"According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians."
],
"answer_starts": [
2038
]
} | {
"text": "According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.",
"answer_start": 2038
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown
Q: Are there any other interesting aspects about this article?
A: Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.
Q: What else was he known for
A: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence.
Q: What was his western music like
A: Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds.
Q: How did they react
A: According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#7 | Did he have any albums | 0y
| 0y
| {
"texts": [
"Modern Sounds in Country and Western Music."
],
"answer_starts": [
1096
]
} | {
"text": "Modern Sounds in Country and Western Music.",
"answer_start": 1096
} |
C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown
Q: Are there any other interesting aspects about this article?
A: Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.
Q: What else was he known for
A: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence.
Q: What was his western music like
A: Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds.
Q: How did they react
A: According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: Did he have any albums
A: Modern Sounds in Country and Western Music. | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#8 | When did the album come out | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2196
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} | {
"text": "unknown",
"answer_start": 2196
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C_17e438ca08e34c9dbe8e23022e2c5ee0_0 | Modern Sounds in Country and Western Music | Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. | Recording | Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: What was recording like
A: The recording sessions for the album took place at three sessions in mid-February 1962.
Q: What was the name of the album
A: Modern Sounds in Country and Western Music.
Q: Did it hit the billboards
A: unknown
Q: Are there any other interesting aspects about this article?
A: Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.
Q: What else was he known for
A: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence.
Q: What was his western music like
A: Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds.
Q: How did they react
A: According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
Q: Did he have any albums
A: Modern Sounds in Country and Western Music.
Q: When did the album come out
A: unknown | C_17e438ca08e34c9dbe8e23022e2c5ee0_0_q#9 | What else stood out in this article | 0y
| 2x
| {
"texts": [
"Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers."
],
"answer_starts": [
665
]
} | {
"text": "Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers.",
"answer_start": 665
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey. | C_0b2ae363299f4f7cab10748322d58027_1_q#0 | when did they join Megaforce | 2m
| 2x
| {
"texts": [
"1988."
],
"answer_starts": [
86
]
} | {
"text": "1988.",
"answer_start": 86
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988. | C_0b2ae363299f4f7cab10748322d58027_1_q#1 | What album did they release with them | 0y
| 2x
| {
"texts": [
"The group released its debut album as King's X, entitled Out of the Silent Planet,"
],
"answer_starts": [
0
]
} | {
"text": "The group released its debut album as King's X, entitled Out of the Silent Planet,",
"answer_start": 0
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988.
Q: What album did they release with them
A: The group released its debut album as King's X, entitled Out of the Silent Planet, | C_0b2ae363299f4f7cab10748322d58027_1_q#2 | When was it released | 0y
| 2x
| {
"texts": [
"in 1988."
],
"answer_starts": [
83
]
} | {
"text": "in 1988.",
"answer_start": 83
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988.
Q: What album did they release with them
A: The group released its debut album as King's X, entitled Out of the Silent Planet,
Q: When was it released
A: in 1988. | C_0b2ae363299f4f7cab10748322d58027_1_q#3 | was it a success | 0y
| 1n
| {
"texts": [
"Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts."
],
"answer_starts": [
92
]
} | {
"text": "Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts.",
"answer_start": 92
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988.
Q: What album did they release with them
A: The group released its debut album as King's X, entitled Out of the Silent Planet,
Q: When was it released
A: in 1988.
Q: was it a success
A: Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. | C_0b2ae363299f4f7cab10748322d58027_1_q#4 | what hit is in the album | 2m
| 2x
| {
"texts": [
"\"King\" and \"Shot of Love\""
],
"answer_starts": [
233
]
} | {
"text": "\"King\" and \"Shot of Love\"",
"answer_start": 233
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988.
Q: What album did they release with them
A: The group released its debut album as King's X, entitled Out of the Silent Planet,
Q: When was it released
A: in 1988.
Q: was it a success
A: Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts.
Q: what hit is in the album
A: "King" and "Shot of Love" | C_0b2ae363299f4f7cab10748322d58027_1_q#5 | Is there any other album released with them | 0y
| 0y
| {
"texts": [
"the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album"
],
"answer_starts": [
494
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} | {
"text": "the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album",
"answer_start": 494
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988.
Q: What album did they release with them
A: The group released its debut album as King's X, entitled Out of the Silent Planet,
Q: When was it released
A: in 1988.
Q: was it a success
A: Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts.
Q: what hit is in the album
A: "King" and "Shot of Love"
Q: Is there any other album released with them
A: the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album | C_0b2ae363299f4f7cab10748322d58027_1_q#6 | Any hit in the album | 0y
| 0y
| {
"texts": [
"\"Summerland\", \"Mission\", and \"The Burning Down\"."
],
"answer_starts": [
928
]
} | {
"text": "\"Summerland\", \"Mission\", and \"The Burning Down\".",
"answer_start": 928
} |
C_0b2ae363299f4f7cab10748322d58027_1 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Megaforce era (1988-1991) | The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.
Q: when did they join Megaforce
A: 1988.
Q: What album did they release with them
A: The group released its debut album as King's X, entitled Out of the Silent Planet,
Q: When was it released
A: in 1988.
Q: was it a success
A: Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts.
Q: what hit is in the album
A: "King" and "Shot of Love"
Q: Is there any other album released with them
A: the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album
Q: Any hit in the album
A: "Summerland", "Mission", and "The Burning Down". | C_0b2ae363299f4f7cab10748322d58027_1_q#7 | was it a success | 2m
| 0y
| {
"texts": [
"their landmark album and most creative period, the album fared only slightly better"
],
"answer_starts": [
569
]
} | {
"text": "their landmark album and most creative period, the album fared only slightly better",
"answer_start": 569
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone. | C_0b2ae363299f4f7cab10748322d58027_0_q#0 | What was something that happened in the Atlantic Era? | 0y
| 2x
| {
"texts": [
"The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,"
],
"answer_starts": [
0
]
} | {
"text": "The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,",
"answer_start": 0
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, | C_0b2ae363299f4f7cab10748322d58027_0_q#1 | when was it released? | 0y
| 2x
| {
"texts": [
"in early 1992."
],
"answer_starts": [
116
]
} | {
"text": "in early 1992.",
"answer_start": 116
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,
Q: when was it released?
A: in early 1992. | C_0b2ae363299f4f7cab10748322d58027_0_q#2 | What were some of the songs on the album? | 2m
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2565
]
} | {
"text": "unknown",
"answer_start": 2565
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,
Q: when was it released?
A: in early 1992.
Q: What were some of the songs on the album?
A: unknown | C_0b2ae363299f4f7cab10748322d58027_0_q#3 | What else can you tell me about the atlantic era? | 0y
| 2x
| {
"texts": [
"The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label ("
],
"answer_starts": [
2175
]
} | {
"text": "The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (",
"answer_start": 2175
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,
Q: when was it released?
A: in early 1992.
Q: What were some of the songs on the album?
A: unknown
Q: What else can you tell me about the atlantic era?
A: The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label ( | C_0b2ae363299f4f7cab10748322d58027_0_q#4 | Was this release successful? | 0y
| 0y
| {
"texts": [
"). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts."
],
"answer_starts": [
2329
]
} | {
"text": "). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts.",
"answer_start": 2329
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,
Q: when was it released?
A: in early 1992.
Q: What were some of the songs on the album?
A: unknown
Q: What else can you tell me about the atlantic era?
A: The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (
Q: Was this release successful?
A: ). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. | C_0b2ae363299f4f7cab10748322d58027_0_q#5 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"Not long after the release of King's X, the band parted ways with Taylor."
],
"answer_starts": [
530
]
} | {
"text": "Not long after the release of King's X, the band parted ways with Taylor.",
"answer_start": 530
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,
Q: when was it released?
A: in early 1992.
Q: What were some of the songs on the album?
A: unknown
Q: What else can you tell me about the atlantic era?
A: The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (
Q: Was this release successful?
A: ). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts.
Q: Are there any other interesting aspects about this article?
A: Not long after the release of King's X, the band parted ways with Taylor. | C_0b2ae363299f4f7cab10748322d58027_0_q#6 | why did they part ways? | 0y
| 2x
| {
"texts": [
"The details of the split were not made public,"
],
"answer_starts": [
604
]
} | {
"text": "The details of the split were not made public,",
"answer_start": 604
} |
C_0b2ae363299f4f7cab10748322d58027_0 | King's X | King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock. | Atlantic era (1992-1997) | The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.
Q: What was something that happened in the Atlantic Era?
A: The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,
Q: when was it released?
A: in early 1992.
Q: What were some of the songs on the album?
A: unknown
Q: What else can you tell me about the atlantic era?
A: The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (
Q: Was this release successful?
A: ). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts.
Q: Are there any other interesting aspects about this article?
A: Not long after the release of King's X, the band parted ways with Taylor.
Q: why did they part ways?
A: The details of the split were not made public, | C_0b2ae363299f4f7cab10748322d58027_0_q#7 | Did they have any other albums? | 0y
| 2x
| {
"texts": [
"\"Black Flag"
],
"answer_starts": [
442
]
} | {
"text": "\"Black Flag",
"answer_start": 442
} |
C_c2be5a1152694f16849703ee5b9de7c8_1 | Tom Petty | Petty was born October 20, 1950, in Gainesville, Florida, the first of two sons of Kitty (nee Avery), a local tax office worker, and Earl Petty, who worked in a grocery store. He had a brother, Bruce, who was seven years younger. His interest in rock and roll music began at age ten when he met Elvis Presley. In the summer of 1961, his uncle was working on the set of Presley's film Follow That Dream, in nearby Ocala, and invited Petty to watch the shoot. | 1988-1991: Traveling Wilburys and solo career | In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA. | C_c2be5a1152694f16849703ee5b9de7c8_1_q#0 | Who were the Traveling Wilburys? | 1n
| 2x
| {
"texts": [
"Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne."
],
"answer_starts": [
9
]
} | {
"text": "Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne.",
"answer_start": 9
} |
C_c2be5a1152694f16849703ee5b9de7c8_1 | Tom Petty | Petty was born October 20, 1950, in Gainesville, Florida, the first of two sons of Kitty (nee Avery), a local tax office worker, and Earl Petty, who worked in a grocery store. He had a brother, Bruce, who was seven years younger. His interest in rock and roll music began at age ten when he met Elvis Presley. In the summer of 1961, his uncle was working on the set of Presley's film Follow That Dream, in nearby Ocala, and invited Petty to watch the shoot. | 1988-1991: Traveling Wilburys and solo career | In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.
Q: Who were the Traveling Wilburys?
A: Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. | C_c2be5a1152694f16849703ee5b9de7c8_1_q#1 | What did the Traveling Wilburys do? | 2m
| 2x
| {
"texts": [
"the group decided to record a full album,"
],
"answer_starts": [
274
]
} | {
"text": "the group decided to record a full album,",
"answer_start": 274
} |
C_c2be5a1152694f16849703ee5b9de7c8_1 | Tom Petty | Petty was born October 20, 1950, in Gainesville, Florida, the first of two sons of Kitty (nee Avery), a local tax office worker, and Earl Petty, who worked in a grocery store. He had a brother, Bruce, who was seven years younger. His interest in rock and roll music began at age ten when he met Elvis Presley. In the summer of 1961, his uncle was working on the set of Presley's film Follow That Dream, in nearby Ocala, and invited Petty to watch the shoot. | 1988-1991: Traveling Wilburys and solo career | In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.
Q: Who were the Traveling Wilburys?
A: Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne.
Q: What did the Traveling Wilburys do?
A: the group decided to record a full album, | C_c2be5a1152694f16849703ee5b9de7c8_1_q#2 | How did the album do? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2120
]
} | {
"text": "unknown",
"answer_start": 2120
} |
C_c2be5a1152694f16849703ee5b9de7c8_1 | Tom Petty | Petty was born October 20, 1950, in Gainesville, Florida, the first of two sons of Kitty (nee Avery), a local tax office worker, and Earl Petty, who worked in a grocery store. He had a brother, Bruce, who was seven years younger. His interest in rock and roll music began at age ten when he met Elvis Presley. In the summer of 1961, his uncle was working on the set of Presley's film Follow That Dream, in nearby Ocala, and invited Petty to watch the shoot. | 1988-1991: Traveling Wilburys and solo career | In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.
Q: Who were the Traveling Wilburys?
A: Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne.
Q: What did the Traveling Wilburys do?
A: the group decided to record a full album,
Q: How did the album do?
A: unknown | C_c2be5a1152694f16849703ee5b9de7c8_1_q#3 | When did Tom break into a solo career? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2120
]
} | {
"text": "unknown",
"answer_start": 2120
} |
C_c2be5a1152694f16849703ee5b9de7c8_1 | Tom Petty | Petty was born October 20, 1950, in Gainesville, Florida, the first of two sons of Kitty (nee Avery), a local tax office worker, and Earl Petty, who worked in a grocery store. He had a brother, Bruce, who was seven years younger. His interest in rock and roll music began at age ten when he met Elvis Presley. In the summer of 1961, his uncle was working on the set of Presley's film Follow That Dream, in nearby Ocala, and invited Petty to watch the shoot. | 1988-1991: Traveling Wilburys and solo career | In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.
Q: Who were the Traveling Wilburys?
A: Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne.
Q: What did the Traveling Wilburys do?
A: the group decided to record a full album,
Q: How did the album do?
A: unknown
Q: When did Tom break into a solo career?
A: unknown | C_c2be5a1152694f16849703ee5b9de7c8_1_q#4 | What is known about his solo career? | 2m
| 2x
| {
"texts": [
"Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: \"Mary Jane's Last Dance\""
],
"answer_starts": [
1642
]
} | {
"text": "Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: \"Mary Jane's Last Dance\"",
"answer_start": 1642
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011. | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#0 | What does "Jahero" refer to? | 0y
| 2x
| {
"texts": [
"In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary."
],
"answer_starts": [
0
]
} | {
"text": "In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.",
"answer_start": 0
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#1 | Was Jahero successful? | 0y
| 0y
| {
"texts": [
"It became so popular that O'Donnell and her creative team considered an \"on the road\" version of the video blog"
],
"answer_starts": [
747
]
} | {
"text": "It became so popular that O'Donnell and her creative team considered an \"on the road\" version of the video blog",
"answer_start": 747
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.
Q: Was Jahero successful?
A: It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#2 | What was Rosie Radio? | 0y
| 2x
| {
"texts": [
"In November 2009 ,\"Rosie Radio\", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered."
],
"answer_starts": [
1872
]
} | {
"text": "In November 2009 ,\"Rosie Radio\", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered.",
"answer_start": 1872
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.
Q: Was Jahero successful?
A: It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog
Q: What was Rosie Radio?
A: In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#3 | Did anyone else appear on the radio show? | 0y
| 2x
| {
"texts": [
"O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show."
],
"answer_starts": [
2000
]
} | {
"text": "O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show.",
"answer_start": 2000
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.
Q: Was Jahero successful?
A: It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog
Q: What was Rosie Radio?
A: In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered.
Q: Did anyone else appear on the radio show?
A: O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#4 | Was Rosie Radio successful? | 0y
| 2x
| {
"texts": [
"The radio show ended in June 2011."
],
"answer_starts": [
2102
]
} | {
"text": "The radio show ended in June 2011.",
"answer_start": 2102
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.
Q: Was Jahero successful?
A: It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog
Q: What was Rosie Radio?
A: In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered.
Q: Did anyone else appear on the radio show?
A: O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show.
Q: Was Rosie Radio successful?
A: The radio show ended in June 2011. | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#5 | To what does "Love, Loss, and What I Wore" refer? | 1n
| 2x
| {
"texts": [
"In October 2009, she appeared in the original cast of Love, Loss, and What I Wore."
],
"answer_starts": [
1788
]
} | {
"text": "In October 2009, she appeared in the original cast of Love, Loss, and What I Wore.",
"answer_start": 1788
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.
Q: Was Jahero successful?
A: It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog
Q: What was Rosie Radio?
A: In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered.
Q: Did anyone else appear on the radio show?
A: O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show.
Q: Was Rosie Radio successful?
A: The radio show ended in June 2011.
Q: To what does "Love, Loss, and What I Wore" refer?
A: In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#6 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist"
],
"answer_starts": [
1529
]
} | {
"text": "O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist",
"answer_start": 1529
} |
C_ea9b4bb89da44a56876196b3bb97af3f_0 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio | In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.
Q: What does "Jahero" refer to?
A: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.
Q: Was Jahero successful?
A: It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog
Q: What was Rosie Radio?
A: In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered.
Q: Did anyone else appear on the radio show?
A: O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show.
Q: Was Rosie Radio successful?
A: The radio show ended in June 2011.
Q: To what does "Love, Loss, and What I Wore" refer?
A: In October 2009, she appeared in the original cast of Love, Loss, and What I Wore.
Q: Are there any other interesting aspects about this article?
A: O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist | C_ea9b4bb89da44a56876196b3bb97af3f_0_q#7 | Who else was in "America"? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2137
]
} | {
"text": "unknown",
"answer_start": 2137
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake. | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#0 | What was her earliest work? | 0y
| 2x
| {
"texts": [
"O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,"
],
"answer_starts": [
0
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} | {
"text": "O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,",
"answer_start": 0
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#1 | what was star search? | 1n
| 2x
| {
"texts": [
"talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,"
],
"answer_starts": [
457
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} | {
"text": "talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,",
"answer_start": 457
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#2 | what did she do after star search? | 0y
| 2x
| {
"texts": [
"she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!"
],
"answer_starts": [
635
]
} | {
"text": "she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!",
"answer_start": 635
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,
Q: what did she do after star search?
A: she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#3 | was it successful? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1992
]
} | {
"text": "unknown",
"answer_start": 1992
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,
Q: what did she do after star search?
A: she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!
Q: was it successful?
A: unknown | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#4 | Did she do anything after that? | 0y
| 0y
| {
"texts": [
"She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians."
],
"answer_starts": [
813
]
} | {
"text": "She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians.",
"answer_start": 813
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,
Q: what did she do after star search?
A: she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!
Q: was it successful?
A: unknown
Q: Did she do anything after that?
A: She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#5 | was anyone famous on the show? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1992
]
} | {
"text": "unknown",
"answer_start": 1992
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,
Q: what did she do after star search?
A: she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!
Q: was it successful?
A: unknown
Q: Did she do anything after that?
A: She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians.
Q: was anyone famous on the show?
A: unknown | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#6 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna."
],
"answer_starts": [
1064
]
} | {
"text": "O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna.",
"answer_start": 1064
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,
Q: what did she do after star search?
A: she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!
Q: was it successful?
A: unknown
Q: Did she do anything after that?
A: She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians.
Q: was anyone famous on the show?
A: unknown
Q: Are there any other interesting aspects about this article?
A: O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#7 | Did she do any other movies? | 0y
| 0y
| {
"texts": [
"she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble"
],
"answer_starts": [
1524
]
} | {
"text": "she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble",
"answer_start": 1524
} |
C_ea9b4bb89da44a56876196b3bb97af3f_1 | Rosie O'Donnell | O'Donnell, the third of five children, was born and raised in Commack, Long Island, New York. She is the daughter of homemaker Roseann Teresa (nee Murtha) and Edward Joseph O'Donnell, an electrical engineer who worked in the defense industry. O'Donnell's father had immigrated from County Donegal, Ireland, during his childhood, and her mother was Irish American; O'Donnell was raised Roman Catholic. Her older brother is Daniel J. O'Donnell, now a member of the New York State Assembly. | Early work | O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.
Q: What was her earliest work?
A: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,
Q: what was star search?
A: talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,
Q: what did she do after star search?
A: she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!
Q: was it successful?
A: unknown
Q: Did she do anything after that?
A: She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians.
Q: was anyone famous on the show?
A: unknown
Q: Are there any other interesting aspects about this article?
A: O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna.
Q: Did she do any other movies?
A: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble | C_ea9b4bb89da44a56876196b3bb97af3f_1_q#8 | Did she win any awards? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
1992
]
} | {
"text": "unknown",
"answer_start": 1992
} |
C_e154bc40939a4593bfb7a906e1f27971_1 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Set | The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery. | C_e154bc40939a4593bfb7a906e1f27971_1_q#0 | What does The Colbert Report and the Set have to do with eachother? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
7541
]
} | {
"text": "unknown",
"answer_start": 7541
} |
C_e154bc40939a4593bfb7a906e1f27971_1 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Set | The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery.
Q: What does The Colbert Report and the Set have to do with eachother?
A: unknown | C_e154bc40939a4593bfb7a906e1f27971_1_q#1 | Tell me about the Set. | 2m
| 2x
| {
"texts": [
"The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert,"
],
"answer_starts": [
0
]
} | {
"text": "The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert,",
"answer_start": 0
} |
C_e154bc40939a4593bfb7a906e1f27971_1 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Set | The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery.
Q: What does The Colbert Report and the Set have to do with eachother?
A: unknown
Q: Tell me about the Set.
A: The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, | C_e154bc40939a4593bfb7a906e1f27971_1_q#2 | Was there any one individual he focused on? | 2m
| 1n
| {
"texts": [
"The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor."
],
"answer_starts": [
4514
]
} | {
"text": "The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor.",
"answer_start": 4514
} |
C_e154bc40939a4593bfb7a906e1f27971_1 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Set | The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery.
Q: What does The Colbert Report and the Set have to do with eachother?
A: unknown
Q: Tell me about the Set.
A: The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert,
Q: Was there any one individual he focused on?
A: The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. | C_e154bc40939a4593bfb7a906e1f27971_1_q#3 | How was the show received by critics? | 1n
| 2x
| {
"texts": [
"the show \"quickly became a fixture in the late-night lineup.\" At its peak, the show averaged 1.5 million viewers each evening."
],
"answer_starts": [
1478
]
} | {
"text": "the show \"quickly became a fixture in the late-night lineup.\" At its peak, the show averaged 1.5 million viewers each evening.",
"answer_start": 1478
} |
C_e154bc40939a4593bfb7a906e1f27971_0 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Later years | In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report. | C_e154bc40939a4593bfb7a906e1f27971_0_q#0 | What happened to the show in the later years? | 0y
| 2x
| {
"texts": [
"In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration."
],
"answer_starts": [
0
]
} | {
"text": "In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration.",
"answer_start": 0
} |
C_e154bc40939a4593bfb7a906e1f27971_0 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Later years | In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.
Q: What happened to the show in the later years?
A: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. | C_e154bc40939a4593bfb7a906e1f27971_0_q#1 | How did that turn out? | 0y
| 2x
| {
"texts": [
"The New Yorker used Colbert's testimony before Congress as an example of the \"third\" Colbert: \"Colbert was thoughtful and sincere--"
],
"answer_starts": [
130
]
} | {
"text": "The New Yorker used Colbert's testimony before Congress as an example of the \"third\" Colbert: \"Colbert was thoughtful and sincere--",
"answer_start": 130
} |
C_e154bc40939a4593bfb7a906e1f27971_0 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Later years | In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.
Q: What happened to the show in the later years?
A: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration.
Q: How did that turn out?
A: The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere-- | C_e154bc40939a4593bfb7a906e1f27971_0_q#2 | Was the show still popular during this time? | 0y
| 0y
| {
"texts": [
"President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.;"
],
"answer_starts": [
1052
]
} | {
"text": "President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.;",
"answer_start": 1052
} |
C_e154bc40939a4593bfb7a906e1f27971_0 | The Colbert Report | The Colbert Report () is an American late-night talk and news satire television program hosted by Stephen Colbert that aired four days a week on Comedy Central from October 17, 2005 to December 18, 2014 for 1,447 episodes. The show focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character, described by Colbert as a "well-intentioned, poorly informed, high-status idiot", is a caricature of televised political pundits. Furthermore, the show satirized conservative personality-driven political talk programs, particularly Fox News's The O'Reilly Factor. | Later years | In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.
Q: What happened to the show in the later years?
A: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration.
Q: How did that turn out?
A: The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--
Q: Was the show still popular during this time?
A: President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; | C_e154bc40939a4593bfb7a906e1f27971_0_q#3 | Any other well-known guests? | 0y
| 0y
| {
"texts": [
"In 2012, Colbert interviewed illustrator/author Maurice Sendak,"
],
"answer_starts": [
645
]
} | {
"text": "In 2012, Colbert interviewed illustrator/author Maurice Sendak,",
"answer_start": 645
} |
C_4564785fdfb54c69a92a7d9a954f2c83_1 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | August 2002 memo | In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights. | C_4564785fdfb54c69a92a7d9a954f2c83_1_q#0 | How did the August 2002 memo describe Abu Zubaydah? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2673
]
} | {
"text": "unknown",
"answer_start": 2673
} |
C_4564785fdfb54c69a92a7d9a954f2c83_1 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | August 2002 memo | In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.
Q: How did the August 2002 memo describe Abu Zubaydah?
A: unknown | C_4564785fdfb54c69a92a7d9a954f2c83_1_q#1 | Are there any other interesting aspects about this article? | 0y
| 0y
| {
"texts": [
"have reported the CIA was already using these harsh tactics before the memo authorizing their use was written,"
],
"answer_starts": [
866
]
} | {
"text": "have reported the CIA was already using these harsh tactics before the memo authorizing their use was written,",
"answer_start": 866
} |
C_4564785fdfb54c69a92a7d9a954f2c83_1 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | August 2002 memo | In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.
Q: How did the August 2002 memo describe Abu Zubaydah?
A: unknown
Q: Are there any other interesting aspects about this article?
A: have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, | C_4564785fdfb54c69a92a7d9a954f2c83_1_q#2 | Were the CIA's tactics deemed effective? | 2m
| 0y
| {
"texts": [
"Many other techniques developed by the CIA were held to constitute inhumane"
],
"answer_starts": [
1819
]
} | {
"text": "Many other techniques developed by the CIA were held to constitute inhumane",
"answer_start": 1819
} |
C_4564785fdfb54c69a92a7d9a954f2c83_1 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | August 2002 memo | In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.
Q: How did the August 2002 memo describe Abu Zubaydah?
A: unknown
Q: Are there any other interesting aspects about this article?
A: have reported the CIA was already using these harsh tactics before the memo authorizing their use was written,
Q: Were the CIA's tactics deemed effective?
A: Many other techniques developed by the CIA were held to constitute inhumane | C_4564785fdfb54c69a92a7d9a954f2c83_1_q#3 | Did the CIA get useful information from these techniques? | 1n
| 2x
| {
"texts": [
"unknown"
],
"answer_starts": [
2673
]
} | {
"text": "unknown",
"answer_start": 2673
} |
C_4564785fdfb54c69a92a7d9a954f2c83_1 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | August 2002 memo | In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.
Q: How did the August 2002 memo describe Abu Zubaydah?
A: unknown
Q: Are there any other interesting aspects about this article?
A: have reported the CIA was already using these harsh tactics before the memo authorizing their use was written,
Q: Were the CIA's tactics deemed effective?
A: Many other techniques developed by the CIA were held to constitute inhumane
Q: Did the CIA get useful information from these techniques?
A: unknown | C_4564785fdfb54c69a92a7d9a954f2c83_1_q#4 | Are there any other interesting aspects about this article? | 2m
| 0y
| {
"texts": [
"the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding."
],
"answer_starts": [
2230
]
} | {
"text": "the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding.",
"answer_start": 2230
} |
C_4564785fdfb54c69a92a7d9a954f2c83_1 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | August 2002 memo | In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.
Q: How did the August 2002 memo describe Abu Zubaydah?
A: unknown
Q: Are there any other interesting aspects about this article?
A: have reported the CIA was already using these harsh tactics before the memo authorizing their use was written,
Q: Were the CIA's tactics deemed effective?
A: Many other techniques developed by the CIA were held to constitute inhumane
Q: Did the CIA get useful information from these techniques?
A: unknown
Q: Are there any other interesting aspects about this article?
A: the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. | C_4564785fdfb54c69a92a7d9a954f2c83_1_q#5 | Did any CIA officials justify the program? | 2m
| 1n
| {
"texts": [
"CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3"
],
"answer_starts": [
2503
]
} | {
"text": "CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3",
"answer_start": 2503
} |
C_4564785fdfb54c69a92a7d9a954f2c83_0 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | May 30, 2005, memo | The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself. | C_4564785fdfb54c69a92a7d9a954f2c83_0_q#0 | what was the memo about | 0y
| 2x
| {
"texts": [
"It claimed that due to the enhanced interrogation techniques, Zubaydah"
],
"answer_starts": [
49
]
} | {
"text": "It claimed that due to the enhanced interrogation techniques, Zubaydah",
"answer_start": 49
} |
C_4564785fdfb54c69a92a7d9a954f2c83_0 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | May 30, 2005, memo | The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.
Q: what was the memo about
A: It claimed that due to the enhanced interrogation techniques, Zubaydah | C_4564785fdfb54c69a92a7d9a954f2c83_0_q#1 | were his interroorgation tactics violent | 0y
| 0y
| {
"texts": [
"It claimed that due to the enhanced interrogation techniques, Zubaydah \"provided significant information on two operatives,"
],
"answer_starts": [
49
]
} | {
"text": "It claimed that due to the enhanced interrogation techniques, Zubaydah \"provided significant information on two operatives,",
"answer_start": 49
} |
C_4564785fdfb54c69a92a7d9a954f2c83_0 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | May 30, 2005, memo | The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.
Q: what was the memo about
A: It claimed that due to the enhanced interrogation techniques, Zubaydah
Q: were his interroorgation tactics violent
A: It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, | C_4564785fdfb54c69a92a7d9a954f2c83_0_q#2 | anything stand out in article | 0y
| 0y
| {
"texts": [
"\" This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means."
],
"answer_starts": [
276
]
} | {
"text": "\" This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means.",
"answer_start": 276
} |
C_4564785fdfb54c69a92a7d9a954f2c83_0 | Abu Zubaydah | Abu Zubaydah ( ( listen) AH-boo zuu-BAY-d@; Arabic: bw zbyd@, Abu Zubaydah; born March 12, 1971, as Zayn al-Abidin Muhammad Husayn) is a Saudi Arabian citizen currently held by the U.S. in the Guantanamo Bay detention camp in Cuba. | May 30, 2005, memo | The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.
Q: what was the memo about
A: It claimed that due to the enhanced interrogation techniques, Zubaydah
Q: were his interroorgation tactics violent
A: It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives,
Q: anything stand out in article
A: " This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. | C_4564785fdfb54c69a92a7d9a954f2c83_0_q#3 | what were some of the interrigation methods | 2m
| 2x
| {
"texts": [
"The memo noted that not all of the waterboarding sessions were necessary for Zubaydah,"
],
"answer_starts": [
694
]
} | {
"text": "The memo noted that not all of the waterboarding sessions were necessary for Zubaydah,",
"answer_start": 694
} |