cindermond/bento huggingface dataset:
Background: They Might Be Giants (often abbreviated as TMBG) is an American alternative rock band formed in 1982 by John Flansburgh and John Linnell. During TMBG's early years, Flansburgh and Linnell frequently performed as a duo, often accompanied by a drum machine. In the early 1990s, TMBG expanded to include a backing band. The duo's current backing band consists of Marty Beller, Dan Miller, and Danny Weinkauf.
Context: In 1989, They Might Be Giants signed with Elektra Records, and released their third album Flood the following year. Flood earned them a platinum album, largely thanks to the success of "Birdhouse in Your Soul" which reached number three on the US Modern Rock chart, as well as "Istanbul (Not Constantinople)", a cover of a song originally by The Four Lads. In 1990, Throttle magazine interviewed They Might Be Giants and clarified the meaning of the song "Ana Ng": John Flansburgh said, "Ng is a Vietnamese name. The song is about someone who's thinking about a person on the exact opposite side of the world. John looked at a globe and figured out that if Ana Ng is in Vietnam and the person is on the other side of the world, then it must be written by someone in Peru". Further interest in the band was generated when two cartoon music videos were created by Warner Bros. Animation for Tiny Toon Adventures: "Istanbul" and "Particle Man". The videos reflected TMBG's high "kid appeal", resulting from their often absurd songs and poppy melodies. In 1991, Bar/None Records released the B-sides compilation Miscellaneous T. The title referred to the section of the record store where TMBG releases were often found as well as to the overall eclectic nature of the tracks. Though consisting of previously released material (save for the "Purple Toupee" b-sides, which were not available publicly), it gave new fans a chance to hear the Johns' earlier non-album work without having to hunt down the individual EPs. In early 1992, They Might Be Giants released Apollo 18. The heavy space theme coincided with TMBG being named Musical Ambassadors for International Space Year. Singles from the album included "The Statue Got Me High", "I Palindrome I", and "The Guitar (The Lion Sleeps Tonight)". Apollo 18 was also notable for being one of the first albums to take advantage of the CD player's shuffle feature. The song "Fingertips" actually comprised 21 separate tracks -- short snippets that not only acted together to make the song but that when played in random order would be interspersed between the album's full-length songs. Due to mastering errors, the UK and Australian versions of Apollo 18 contained "Fingertips" as one track. CANNOTANSWER
Question: how long were they with Elektra?

Answer:

CANNOTANSWER
Answer by taking a quote from the following article:

Roscoe Conkling Arbuckle was born on March 24, 1887 in Smith Center, Kansas, one of nine children of Mary E. "Mollie" Gordon (d. February 19, 1898) and William Goodrich Arbuckle. He weighed in excess of 13 lb (5.9 kg) at birth and, as both parents had slim builds, his father believed the child was not his. Consequently, he named the baby after a politician (and notorious philanderer) whom he despised, Republican senator Roscoe Conkling of New York. The birth was traumatic for Mollie and resulted in chronic health problems that contributed to her death 12 years later.

In 1904, Sid Grauman invited Arbuckle to sing in his new Unique Theater in San Francisco, beginning a long friendship between the two. He then joined the Pantages Theatre Group touring the West Coast of the United States and in 1906 played the Orpheum Theater in Portland, Oregon in a vaudeville troupe organized by Leon Errol. Arbuckle became the main act and the group took their show on tour. On August 6, 1908, Arbuckle married Minta Durfee (1889-1975), the daughter of Charles Warren Durfee and Flora Adkins. Durfee starred in many early comedy films, often with Arbuckle. They made a strange couple, as Minta was short and petite while Arbuckle tipped the scales at 300 lbs. Arbuckle then joined the Morosco Burbank Stock vaudeville company and went on a tour of China and Japan returning in early 1909. Arbuckle began his film career with the Selig Polyscope Company in July 1909 when he appeared in Ben's Kid. Arbuckle appeared sporadically in Selig one-reelers until 1913, moved briefly to Universal Pictures and became a star in producer-director Mack Sennett's Keystone Cops comedies (However, according to the Motion Picture Studio Directory for 1919 and 1921, Arbuckle began his screen career with Keystone in 1913 as an extra for $3 a day (equivalent to approximately $74 in 2017 dollars), working his way up through the acting ranks to become a lead player and director.) Although his large size was undoubtedly part of his comedic appeal Arbuckle was self-conscious about his weight and refused to use it to get "cheap" laughs. For example, he would not allow himself to be stuck in a doorway or chair. Arbuckle was a talented singer. After famed operatic tenor Enrico Caruso heard him sing, he urged the comedian to "...give up this nonsense you do for a living, with training you could become the second greatest singer in the world." CANNOTANSWER

Was he overweight?

Although his large size was undoubtedly part of his comedic appeal Arbuckle was self-conscious about his weight
The BBC Radiophonic Workshop was one of the sound effects units of the BBC, created in 1958 to produce incidental sounds and new music for radio and, later, television. The unit is known for its experimental and pioneering work in electronic music and music technology, as well as its popular scores for programs such as Doctor Who and Quatermass and the Pit during the 1950s and '60s. The original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London. The Workshop was closed in March 1998, although much of its traditional work had already been outsourced by 1995.

In 1958, Desmond Briscoe was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant. Much of The Radiophonic Workshop's early work was in effects for radio, in particular experimental drama and "radiophonic poems". Their significant early output included creating effects for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959, Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she eventually developed her "Oramics" technique of electronic sound creation. That year Maddalena Fagandini joined the workshop from the BBC's Italian Service. From the early sixties the Workshop began creating television theme tunes and jingles, particularly for low budget schools programmes. The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance from George Martin (in his pre-Beatles days) and commercially released as a single using the pseudonym Ray Cathode. During this early period the innovative electronic approaches to music in the Workshop began to attract some significant young talent including Delia Derbyshire, Brian Hodgson and John Baker, who was in fact a jazz pianist with an interest in reverse tape effects. Later, in 1967. they were joined by David Cain, a jazz bass player and mathematician. In these early days, one criticism the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature, but also because of the unique combinations and workflows which the Workshop afforded its composers. In later years this would become less important as more electronic equipment became readily available to a wider audience. CANNOTANSWER

What experimental drama was the workshop involved in?

The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to
Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (nee Beatty) and Samuel Le Roy Barber. He was born into a comfortable, educated, social, and distinguished American family. His father was a physician; his mother, called Daisy, was a pianist of English-Scottish-Irish descent whose family had lived in the United States since the time of the American Revolutionary War. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera; his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is known to have influenced Barber's interest in voice. Through his aunt, Barber had access to many great singers and songs. At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. He began studying the piano at the age of 6 and at age 7 composed his first work, Sadness, a 23-measure solo piano piece in C minor. At the age of nine he wrote to his mother: Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet  [sic]. I was meant to be a composer, and will be I'm sure. I'll ask you one more thing.--Don't ask me to try to forget this unpleasant thing and go play football.--Please--Sometimes I've been worrying about this so much that it makes me mad (not very). Barber attempted to write his first opera, entitled The Rose Tree, at the age of 10. At the age of 12, he became an organist at a local church. When he was 14, he entered the Curtis Institute of Music in Philadelphia, where he studied piano with Isabelle Vengerova, composition with Rosario Scalero and George Frederick Boyle, and voice with Emilio de Gogorza. He began composing seriously in his late teenage years. Around the same time, he met fellow Curtis schoolmate Gian Carlo Menotti, who became his partner in life as well as in their shared profession. At the Curtis Institute, Barber was a triple prodigy in composition, voice, and piano. He soon became a favorite of the conservatory's founder, Mary Louise Curtis Bok. It was through Mrs. Bok that Barber was introduced to his lifelong publishers, the Schirmer family. At the age of 18, Barber won the Joseph H. Bearns Prize from Columbia University for his violin sonata (now lost or destroyed by the composer). CANNOTANSWER

Answer this question "Did he received any further education after the institute?" by extracting the answer from the text above.

voice with Emilio de Gogorza. He began composing seriously in his late teenage years.
Cynic is an American band -- incorporating progressive, experimental, alternative, and metal  elements -- founded in Miami, Florida. Cynic are one of the only death metal-inspired bands to have openly gay members. Founding members Paul Masvidal and Sean Reinert publicly revealed their homosexuality in May 2014, a move that was broadly supported by the heavy metal community. Their first album, Focus, released on September 14, 1993, is widely regarded as a landmark release of the progressive metal genre.

Cynic's first recordings feature a more punk, thrash and hardcore sound, but in the 1990s their sound changed towards a highly complex, experimental and extremely technical form of progressive metal, while still retaining their death metal roots. Their 1990 demo displays a hyper-technical form of death/thrash, and the following 1991 Roadrunner demo bears a notable resemblance to Death and jazz-death metal pioneers Atheist, featuring two songs from Focus in cruder, more brutal form. Many influences from jazz and jazz-rock fusion can be heard on their debut album Focus. Focus has both "growls" and "robotic" vocals, using a vocoder. The offshoot Portal later released a demo recording that continues even further in the direction of progressive space rock, refining and softening up their sound. Cynic's 2008 album Traced in Air melded together the styles and influences heard on 1993's Focus with the more progressive-oriented Portal approach. The result had Cynic put less emphasis on its extreme metal elements, with new guttural vocalist Tymon Kruidenier playing a smaller role than Tony Teegarden did on Focus. Additionally, Paul Masvidal all but abandoned his vocoder robotic vocals, opting instead for a more natural singing voice, with a subtler --although noticeable-- vocoder layer that increases an octave his voice. Noting the journey from metal to the progressives, The New York Times proclaimed in a positive review of Traced in Air that "Cynic should be understood not so much alongside any metal bands but along with the radical harmonic progressives in the last 45 years of pop and jazz: composers like Milton Nascimento, The Beach Boys or Pat Metheny." CANNOTANSWERAnswer this question using a quote from the following article:

Musically, what was there most diverse album?

Cynic's 2008 album Traced in Air melded together the styles and influences heard on 1993's Focus with the more progressive-oriented Portal
William Thomson, 1st Baron Kelvin,  (26 June 1824 - 17 December 1907) was a Scots-Irish mathematical physicist and engineer who was born in Belfast in 1824. At the University of Glasgow he did important work in the mathematical analysis of electricity and formulation of the first and second laws of thermodynamics, and did much to unify the emerging discipline of physics in its modern form. He worked closely with mathematics professor Hugh Blackburn in his work.

Thomson's fears were realized when Whitehouse's apparatus proved insufficiently sensitive and had to be replaced by Thomson's mirror galvanometer. Whitehouse continued to maintain that it was his equipment that was providing the service and started to engage in desperate measures to remedy some of the problems. He succeeded only in fatally damaging the cable by applying 2,000 V. When the cable failed completely Whitehouse was dismissed, though Thomson objected and was reprimanded by the board for his interference. Thomson subsequently regretted that he had acquiesced too readily to many of Whitehouse's proposals and had not challenged him with sufficient energy. A joint committee of inquiry was established by the Board of Trade and the Atlantic Telegraph Company. Most of the blame for the cable's failure was found to rest with Whitehouse. The committee found that, though underwater cables were notorious in their lack of reliability, most of the problems arose from known and avoidable causes. Thomson was appointed one of a five-member committee to recommend a specification for a new cable. The committee reported in October 1863. In July 1865, Thomson sailed on the cable-laying expedition of the SS Great Eastern but the voyage was again dogged by technical problems. The cable was lost after 1,200 miles (1,900 km) had been laid and the expedition had to be abandoned. A further expedition in 1866 managed to lay a new cable in two weeks and then go on to recover and complete the 1865 cable. The enterprise was now feted as a triumph by the public and Thomson enjoyed a large share of the adulation. Thomson, along with the other principals of the project, was knighted on 10 November 1866. To exploit his inventions for signalling on long submarine cables, Thomson now entered into a partnership with C.F. Varley and Fleeming Jenkin. In conjunction with the latter, he also devised an automatic curb sender, a kind of telegraph key for sending messages on a cable. CANNOTANSWER

What was the triumph?

he also devised an automatic curb sender, a kind of telegraph key for sending messages on a cable.
Which entity is this text about?

The name Christopher Columbus is the Anglicisation of the Latin Christophorus Columbus. His name in Ligurian is Cristoffa Conbo, in Italian Cristoforo Colombo and in Spanish Cristobal Colon. He was born before 31 October 1451 in the territory of the Republic of Genoa (now part of modern Italy), though the exact location remains disputed. His father was Domenico Colombo, a middle-class wool weaver who worked both in Genoa and Savona and who also owned a cheese stand at which young Christopher worked as a helper.

Though Columbus was wrong about the number of degrees of longitude that separated Europe from the Far East and about the distance that each degree represented, he did possess valuable knowledge about the trade winds, which would prove to be the key to his successful navigation of the Atlantic Ocean. During his first voyage in 1492, the brisk trade winds from the east, commonly called "easterlies", propelled Columbus's fleet for five weeks, from the Canary Islands to The Bahamas. The precise first land sighting and landing point was San Salvador Island. To return to Spain against this prevailing wind would have required several months of an arduous sailing technique, called beating, during which food and drinkable water would probably have been exhausted. Instead, Columbus returned home by following the curving trade winds northeastward to the middle latitudes of the North Atlantic, where he was able to catch the "westerlies" that blow eastward to the coast of Western Europe. There, in turn, the winds curve southward towards the Iberian Peninsula. It is unclear whether Columbus learned about the winds from his own sailing experience or if he had heard about them from others. The corresponding technique for efficient travel in the Atlantic appears to have been exploited first by the Portuguese, who referred to it as the Volta do mar ("turn of the sea"). Columbus's knowledge of the Atlantic wind patterns was, however, imperfect at the time of his first voyage. By sailing directly due west from the Canary Islands during hurricane season, skirting the so-called horse latitudes of the mid-Atlantic, Columbus risked either being becalmed or running into a tropical cyclone, both of which, by chance, he avoided. CANNOTANSWER

Christopher Columbus
While an undergraduate at the University of Wisconsin, Searle was the secretary of "Students against Joseph McCarthy". McCarthy was then the junior senator from Wisconsin. In 1959 Searle began teaching at Berkeley, and he was the first tenured professor to join the 1964-65 Free Speech Movement. In 1969, while serving as chairman of the Academic Freedom Committee of the Academic Senate of the University of California, he supported the university in its dispute with students over the People's Park. In The Campus War: A Sympathetic Look at the University in Agony (1971), Searle investigates the causes behind the campus protests of the era. In it he declares that: "I have been attacked by both the House Un-American Activities Committee and ... several radical polemicists ... Stylistically, the attacks are interestingly similar. Both rely heavily on insinuation and innuendo, and both display a hatred - one might almost say terror - of close analysis and dissection of argument." He asserts that "My wife was threatened that I (and other members of the administration) would be assassinated or violently attacked." In the late 1980s, Searle, along with other landlords, petitioned Berkeley's rental board to raise the limits on how much he could charge tenants under the city's 1980 rent stabilization ordinance. The rental board refused to consider Searle's petition and Searle filed suit, charging a violation of due process. In 1990, in what came to be known as the "Searle Decision", the California Supreme Court upheld Searle's argument in part and Berkeley changed its rent control policy, leading to large rent increases between 1991 and 1994. Searle was reported to see the issue as one of fundamental rights, being quoted as saying "The treatment of landlords in Berkeley is comparable to the treatment of blacks in the South...our rights have been massively violated and we are here to correct that injustice." The court described the debate as a "morass of political invective, ad hominem attack, and policy argument". Shortly after the September 11 attacks, Searle wrote an article arguing that the attacks were a particular event in a long-term struggle against forces that are intractably opposed to the United States, and signaled support for a more aggressive neoconservative interventionist foreign policy. He called for the realization that the United States is in a more-or-less permanent state of war with these forces. Moreover, a probable course of action would be to deny terrorists the use of foreign territory from which to stage their attacks. Finally, he alluded to the long-term nature of the conflict and blamed the attacks on the lack of American resolve to deal forcefully with America's enemies over the past several decades. CANNOTANSWER

Answer this question "What significance did this have?" by extracting the answer from the text above.

The rental board refused to consider Searle's petition and Searle filed suit, charging a violation of due process.
Mohammed Rafi was the second eldest of six brothers born to Haji Ali Mohammad. The family originally belonged to Kotla Sultan Singh, a village near present-day Majitha in Amritsar district of Punjab, India. Rafi, whose nickname was Pheeko, began singing by imitating the chants of a fakir in the streets of his native village Kotla Sultan Singh where his family lived. Rafi's father moved to Lahore in 1935, where he ran a men's salon in Noor Mohalla in Bhati Gate.

During his last years, Rafi was involved in a controversy over Lata Mangeshkar's entry in the Guinness Book of World Records. In a letter dated 11 June 1977 to the Guinness Book of World Records, Rafi had challenged the claim that Lata Mangeshkar has recorded the highest number of songs ("not less than 25,000" according to Guinness). Rafi, according to his fans, would have sung more songs than Lata - he being the senior of the two. They estimated the number of songs sung by Rafi to be anything from 25,000 to 26,000. This prompted Rafi to write a letter, in protest, to Guinness. After receiving a reply from Guinness, in a letter dated 20 November 1979, he wrote, "I am disappointed that my request for a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone unheeded." In an interview to BBC recorded in November 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then. After Rafi's death, in its 1984 edition, the Guinness Book of World Records gave Lata Mangeshkar's name for the "Most Recordings" and stated, "Mohammad Rafi (d 1 August 1980) [sic] claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980." The Guinness Book entries for both Rafi and Lata were eventually deleted in 1991. In 2011, Lata's sister Asha Bhosle was given the title. Mohammed Rafi - Golden Voice of the Silver Screen, a 2015 book by Shahid Rafi and Sujata Dev, states that according to "industry sources", Rafi sang 4,425 Hindi film songs, 310 non-Hindi film songs, and 328 non-film songs between 1945 and 1980. A 2015 Manorama Online article states that "researchers" have found 7,405 songs sung by Rafi. CANNOTANSWER

What did he write in the letter?

he wrote, "I am disappointed that my request for a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone unheeded."
Kevin Martin (born July 31, 1966), nicknamed "The Old Bear" and "K-Mart", is a retired Canadian curler from Edmonton, an Olympic, world and 4-time Canadian champion and a member of the World Curling Hall of Fame. He is considered by many commentators and former and current curlers to be the greatest curler of all time. He is also known for his rivalries with Randy Ferbey/David Nedohin, the best Alberta provincial rivalry ever as the two teams were generally regarded the best in the world from 2002-2006; his rivalry with Jeff Stoughton, perhaps the most famous all prairies rivalry ever which spanned over 2 decades from 1991-2014; with Glenn Howard from 2007-2014, perhaps the best two team rivalry in Canadian curling history, and his rivalry with Sweden's Peja Lindholm from 1997-2006, perhaps the best ever men's Canada-Europe rivalry. Over his 30-year curling career, he won four Briers, a gold medal at the 2010 Winter Olympics, and one world championship.

Five years out of the World Junior Championships, Martin had formed a new team and won his first provincial championship. This qualified him and his team of Kevin Park, Dan Petryk and Don Bartlett for the 1991 Labatt Brier. At the 1991 Brier, Martin finished the round robin with an 8-3 win-loss record, tying Saskatchewan for first place. Martin knocked off British Columbia in the semifinal, and then beat Saskatchewan (skipped by Randy Woytowich) with a score of 8-4 in the final. The rink was then off to the 1991 Canada Safeway World Curling Championships in Winnipeg. Martin turned the tables, going undefeated through the round robin. After beating Norway's Eigil Ramsfjell in the semifinal, Martin's team lost in the final, losing to Scotland's David Smith with a score of 2-7. His 1991 Brier victory also earned him a spot at the 1992 Winter Olympics, where curling was just a demonstration sport at the time. Martin won all three of his round robin games before losing the semifinal to Switzerland with a score of 4-8 and losing to the United States with a score of 2-9 in the bronze medal match. In 1992, Martin won his second provincial championship. His team went 8-3 once again at the 1992 Labatt Brier, tying them in second place with Ontario. However, in the semifinal, the Ontario rink, skipped by Russ Howard, defeated Martin's team by 7-4. Martin's first World Curling Tour event was the 1993 Players' Championship, then known as the "Seagrams VO Cup". His first WCT event win came the following season at the 1993 Kelowna Cashspiel. Later that season he won the 1994 Players' Championship, which has been retroactively considered his first Slam win, even through the event occurred long before the Grand Slam series began. CANNOTANSWER

Using a quote from the above article, answer the following question: Did he have any notable wins?

semifinal to Switzerland with a score of 4-8 and losing to the United States with a score of 2-9 in the bronze medal match.
Answer by taking a quote from the following article:

Louis XVIII (Louis Stanislas Xavier; 17 November 1755 - 16 September 1824), known as "the Desired" (le Desire), was a monarch of the House of Bourbon who ruled as King of France from 1814 to 1824, except for a period in 1815 known as the Hundred Days. He spent twenty-three years in exile, from 1791 to 1814, during the French Revolution and the First French Empire, and again in 1815, during the period of the Hundred Days, upon the return of Napoleon I from Elba. Until his accession to the throne of France, he held the title of Count of Provence as brother of King Louis XVI.

Louis brought his wife and queen, Marie Josephine, from mainland Europe in 1808. His stay at Gosfield Hall did not last long; he soon moved to Hartwell House in Buckinghamshire, where over one hundred courtiers were housed. The King paid PS500 in rent each year to the owner of the estate, Sir George Lee. The Prince of Wales (the future George IV of Great Britain) was very charitable to the exiled Bourbons. As Prince Regent, he granted them permanent right of asylum and extremely generous allowances. The Count of Artois did not join the court-in-exile in Hartwell, preferring to continue his frivolous life in London. Louis's friend the Count of Avaray left Hartwell for Madeira in 1809, and died there in 1811. Louis replaced Avaray with the Comte de Blacas as his principal political advisor. Queen Marie Josephine died on 13 November 1810. That same winter, Louis suffered a particularly severe attack of gout, which was a recurring problem for him at Hartwell, and he had to take to a wheelchair. Napoleon I embarked on an invasion of Russia in 1812. This war would prove to be the turning point in his fortunes, as the expedition failed miserably, and Napoleon was forced to retreat with an army in tatters. In 1813, Louis XVIII issued another declaration from Hartwell. The Declaration of Hartwell was even more liberal than his Declaration of 1805, asserting that all those who served Napoleon or the Republic would not suffer repercussions for their acts, and that the original owners of the Biens nationaux (lands confiscated from the nobility and clergy during the Revolution) were to be compensated for their losses. Allied troops entered Paris on 31 March 1814. Louis, however, was unable to walk, and so he had sent the Count of Artois to France in January 1814. Louis issued letters patent appointing Artois as Lieutenant-General of the Kingdom in the event of his being restored as king, and on 11 April, five days after the French Senate had invited Louis to resume the throne of France, the Emperor Napoleon I abdicated. CANNOTANSWER

what did they need asylum from?

CANNOTANSWER
In late November 1941, Welles was appointed as a goodwill ambassador to Latin America by Nelson Rockefeller, U.S. Coordinator of Inter-American Affairs and a principal stockholder in RKO Radio Pictures. The mission of the OCIAA was cultural diplomacy, promoting hemispheric solidarity and countering the growing influence of the Axis powers in Latin America. John Hay Whitney, head of the agency's Motion Picture Division, was asked by the Brazilian government to produce a documentary of the annual Rio Carnival celebration taking place in early February 1942. In a telegram December 20, 1941, Whitney wrote Welles, "Personally believe you would make great contribution to hemisphere solidarity with this project." The OCIAA sponsored cultural tours to Latin America and appointed goodwill ambassadors including George Balanchine and the American Ballet, Bing Crosby, Aaron Copland, Walt Disney, John Ford and Rita Hayworth. Welles was thoroughly briefed in Washington, D.C., immediately before his departure for Brazil, and film scholar Catherine L. Benamou, a specialist in Latin American affairs, finds it "not unlikely" that he was among the goodwill ambassadors who were asked to gather intelligence for the U.S. government in addition to their cultural duties. She concludes that Welles's acceptance of Whitney's request was "a logical and patently patriotic choice". In addition to working on his ill-fated film project, It's All True, Welles was responsible for radio programs, lectures, interviews and informal talks as part of his OCIAA-sponsored cultural mission, which was regarded as a success. He spoke on topics ranging from Shakespeare to visual art at gatherings of Brazil's elite, and his two intercontinental radio broadcasts in April 1942 were particularly intended to tell U.S. audiences that President Vargas was a partner with the Allies. Welles's ambassadorial mission was extended to permit his travel to other nations including Argentina, Bolivia, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru and Uruguay. Welles worked for more than half a year with no compensation. Welles's own expectations for the film were modest. "It's All True was not going to make any cinematic history, nor was it intended to," he later said. "It was intended to be a perfectly honorable execution of my job as a goodwill ambassador, bringing entertainment to the Northern Hemisphere that showed them something about the Southern one." CANNOTANSWER

Answer this question "What do you find interesting about the article?" by extracting the answer from the text above.

In addition to working on his ill-fated film project, It's All True, Welles was responsible for radio programs, lectures, interviews and informal talks as part of his OCIAA-sponsored cultural mission,
Laurel and Hardy were a comedy double act during the early Classical Hollywood era of American cinema. The team was composed of English thin man Stan Laurel (1890-1965) and American fat man Oliver Hardy (1892-1957). They became well known during the late 1920s through the mid-1940s for their slapstick comedy, with Laurel playing the clumsy and childlike friend of the pompous bully Hardy. The duo's signature tune is known variously as "The Cuckoo Song", "Ku-Ku", or "The Dance of the Cuckoos".

The catchphrase most used by Laurel and Hardy on film is: "Well, here's another nice mess you've gotten me into!" The phrase was earlier used by W. S. Gilbert in both The Mikado from 1885 and The Grand Duke from 1896. It was first used by Hardy in The Laurel-Hardy Murder Case in 1930. In popular culture the catchphrase is often misquoted as "Well, here's another fine mess you've gotten me into." The misquoted version of the phrase was never used by Hardy and the misunderstanding stems from the title of their film Another Fine Mess. Numerous variations of the quote appeared on film. For example, in Chickens Come Home Ollie says impatiently to Stan "Well...." with Stan replying, "Here's another nice mess I've gotten you into." The films Thicker than Water and The Fixer-Uppers use the phrase "Well, here's another nice kettle of fish you pickled me in!" In Saps at Sea the phrase becomes "Well, here's another nice bucket of suds you've gotten me into!" Another regular catchphrase, cried out by Ollie in moments of distress or frustration, as Stan stands helplessly by, is "Why don't you do something to help me?" And another, not-as-often used catchphrase of Ollie, particularly after Stan has accidentally given a verbal idea to an adversary of theirs to torment them even more: "Why don't you keep your (big) mouth shut?!" "D'oh!" was a catchphrase used by the mustachioed Scottish actor James Finlayson who appeared in 33 Laurel and Hardy films. The phrase, expressing surprise, impatience, or incredulity, was the inspiration for "D'oh!" as spoken by the actor Dan Castelleneta portraying the character Homer Simpson in the long-running animated comedy The Simpsons. Homer's first intentional use of "d'oh!" occurred in the Ullman short "Punching Bag" (1988). CANNOTANSWERAnswer this question using a quote from the following article:

what is one of their catch phrases

The catchphrase most used by Laurel and Hardy on film is: "Well, here's another nice mess you've gotten me into!"
Atomic Kitten are a British pop girl group formed in Liverpool in 1998 whose current members are Natasha Hamilton and Liz McClarnon. The band was founded by Colin Pulse, who served as principal songwriter during Atomic Kitten's early years. The group's debut album Right

In April 2003, the album Atomic Kitten was released in the United States, which consisted of tracks from their first two albums. The album was unsuccessful, although "The Tide Is High (Get the Feeling)" appeared on the soundtrack for the Disney Channel Original Movie The Lizzie McGuire Movie. Following this, the group opted to focus solely on the European, Oceanian, South African and Asian markets. Before recording their third album, Kool & the Gang approached the group about a collaboration for their album of duets, Odyssey. Kool & the Gang wanted to record an updated version of their hit "Ladies Night" and were looking for a girl group to sing the lyrics. Atomic Kitten liked the idea and inquired whether they could use it for their next album which was subsequently named Ladies Night in honour of this collaboration. Atomic Kitten spent late 2002 and early 2003 in the studio recording their third and final studio album. Up until the recording of Ladies Night, the group mainly relied on songwriters, though they had occasionally co-written songs featured on their albums. While recording Ladies Night, they decided to be directly involved in the creation of eight of the fifteen songs. Ladies Night was released on 10 November 2003 and peaked at number five in the UK album chart. It was certified Platinum for sales in excess of 300,000 copies. The album released the group including "Be With You", "Ladies Night" and "If You Come To Me" (which peaked at number three on the UK top 40). A deluxe edition of her third album was released with extra tracks including remixes of Be With You, Ladies Night and Someone Like Me. In early 2004, a tour to support the Ladies Night album and the upcoming release of their Greatest Hits album was planned. Shortly before the tour kicked off, the group announced they would be taking an extended break after the completion of the tour. After the group's 2012 reunion, it was revealed during The Big Reunion that Hamilton had quit the group under the pressure of being a new mom and touring, which later led to the band splitting because they didn't want to replace Hamilton. CANNOTANSWER

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In April 2003, the album Atomic Kitten was released in the United States, which consisted of tracks from their first two albums.
Pepys was born in Salisbury Court, Fleet Street, London on 23 February 1633, the son of John Pepys (1601-1680), a tailor, and Margaret Pepys (nee Kite; died 1667), daughter of a Whitechapel butcher. His great uncle Talbot Pepys was Recorder and briefly Member of Parliament (MP) for Cambridge in 1625. His father's first cousin Sir Richard Pepys was elected MP for Sudbury in 1640, appointed Baron of the Exchequer on 30 May 1654, and appointed Lord Chief Justice of Ireland on 25 September 1655. Pepys was the fifth of eleven children, but child mortality was high and he was soon the oldest survivor.

The diary gives a detailed account of Pepys' personal life. He liked wine, plays, and the company of other people. He also spent time evaluating his fortune and his place in the world. He was always curious and often acted on that curiosity, as he acted upon almost all his impulses. Periodically, he would resolve to devote more time to hard work instead of leisure. For example, in his entry for New Year's Eve, 1661, he writes: "I have newly taken a solemn oath about abstaining from plays and wine..." The following months reveal his lapses to the reader; by 17 February, it is recorded, "Here I drank wine upon necessity, being ill for the want of it." Pepys was one of the most important civil servants of his age, and was also a widely cultivated man, taking an interest in books, music, the theatre and science. He was passionately interested in music; he composed, sang, and played for pleasure, and even arranged music lessons for his servants. He played the lute, viol, violin, flageolet, recorder and spinet to varying degrees of proficiency. He was also a keen singer, performing at home, in coffee houses, and even in Westminster Abbey. He and his wife took flageolet lessons from master Thomas Greeting. He also taught his wife to sing and paid for dancing lessons for her (although these stopped when he became jealous of the dancing master). Pepys was known to be brutal to his servants, once beating a servant Jane with a broom until she cried. He kept a boy servant whom he frequently beat with a cane, a birch rod, a whip or a rope's end. CANNOTANSWERAnswer this question using a quote from the following article:

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He liked wine, plays, and the company of other people. He also spent time evaluating his fortune and his place in the world.
At Last the 1948 Show is a satirical TV show made by David Frost's company, Paradine Productions (although it was not credited on the programmes), in association with Rediffusion London. Transmitted on Britain's ITV network in 1967, it brought Cambridge Footlights humour to a broader audience. The show starred Tim Brooke-Taylor, Graham Chapman, John Cleese, Marty Feldman and Aimi MacDonald. Cleese and Brooke-Taylor were also the programme editors.

Thames Television wiped the material once they had acquired the Rediffusion London archive, and all but two episodes were destroyed. John Cleese became aware of tapes from two surviving episodes after Feldman's wife left them to him in her will. Five compilation episodes for Swedish television also survived. Much missing material has been recovered in video, and surviving video has been restored by the British Film Institute. The majority of a previously missing episode (season 2, episode 6 tx 31.10.67) was returned to the BFI in May 2010. On 23 October 2014, the BFI announced film copies of two previously missing episodes - the first and final episodes of the series (tx 15.02.1967 and 07.11.1967) - had been recovered from the private collection of the show's executive producer David Frost. A year later, the BFI announced the recovery of another two episodes, with one of the new recoveries - the third episode of the first series (tx 01.03.1967) - to be screened at the Radio Times Festival at Hampton Court on 25 September 2015. Out of an original total of 13 episodes, eleven now exist in complete or near-complete form, while two remain incomplete. While most surviving episodes are from original tapes or telerecordings, two of the complete episodes have been reconstructed from footage recovered from five compilation tapes returned from Sweden. The two incomplete episodes' surviving footage also comes from these compilations. The complete audio of all 13 episodes exist, recorded off air by several fans. An LP compilation was produced using audio from the original videotapes. This has since been reissued on CD. CANNOTANSWER

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Herman Northrop Frye  (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."

The recurring primitive formulas Frye noticed in his survey of the "greatest classics" provide literature with an order of words, a "skeleton" which allows the reader "to respond imaginatively to any literary work by seeing it in the larger perspective provided by its literary and social contexts" (Hamilton 20). Frye identifies these formulas as the "conventional myths and metaphors" which he calls "archetypes" (Spiritus Mundi 118). The archetypes of literature exist, Frye argues, as an order of words, providing criticism with a conceptual framework and a body of knowledge derived not from an ideological system but rooted in the imagination itself. Thus, rather than interpreting literary works from some ideological 'position' -- what Frye calls the "superimposed critical attitude" (Anatomy 7) -- criticism instead finds integrity within the literary field itself. Criticism for Frye, then, is not a task of evaluation -- that is, of rejecting or accepting a literary work -- but rather simply of recognizing it for what it is and understanding it in relation to other works within the 'order of words'  (Cotrupi 4). Imposing value judgments on literature belongs, according to Frye, "only to the history of taste, and therefore follows the vacillations of fashionable prejudice" (Anatomy 9). Genuine criticism "progresses toward making the whole of literature intelligible" (Anatomy 9) so that its goal is ultimately knowledge and not evaluation. For the critic in Frye's mode, then, . . . a literary work should be contemplated as a pattern of knowledge, an act that must be distinguished, at least initially, from any direct experience of the work, . . . [Thus] criticism begins when reading ends: no longer imaginatively subjected to a literary work, the critic tries to make sense out of it, not by going to some historical context or by commenting on the immediate experience of reading but by seeing its structure within literature and literature within culture (Hamilton 27). CANNOTANSWER

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Background: Skyhooks were an Australian rock band formed in Melbourne in March 1973 by mainstays Greg Macainsh on bass guitar and backing vocals, and Imants "Freddie" Strauks on drums. They were soon joined by Bob "Bongo" Starkie on guitar and backing vocals, and Red Symons on guitar, vocals and keyboards; Graeme "Shirley" Strachan became lead vocalist in March 1974. Described as a glam rock band, because of flamboyant costumes and make-up, Skyhooks addressed teenage issues including buying drugs "Carlton (Lygon Street Limbo)", suburban sex "Balwyn Calling", the gay scene "Toorak Cowboy" and loss of girlfriends "Somewhere in Sydney" by namechecking Australian locales.
Context: In December 1982, Mushroom released a medley of Skyhooks songs as "Hooked on Hooks" which peaked at #21. Demands for the "classic" line-up of the band--Macainsh, Bob Starkie, Strachan, Strauks and Symons--to reform were successful and on 23 April 1983, they started the Living in the 80's Tour. Support acts for the first concert included The Church, Mental as Anything, The Party Boys, The Sunnyboys, and Midnight Oil--who acknowledged, "Hooks were the only Australian band they would let top the bill above them". This tour was released on LP as Live in the 80's. A one-off reunion concert took place in October 1984, and in 1990 the band finally recorded new material, including "Jukebox in Siberia", released in September, which peaked at the top of the ARIA Singles Charts for two weeks. In November, The Latest and Greatest, a compilation album, was released, which peaked at #4 on the ARIA Albums Charts. The tracks were taken from Skyhooks' first four studio albums along with two recent singles, "Jukebox In Siberia" and the uncharted "Tall Timber". In 1992, Skyhooks were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame, while their manager, Gudunski, and record label, Mushroom Records, received a 'Special Achievement Award'. Producer of their first three albums, Wilson, had been inducted into the Hall of Fame in 1989 as an individual and again as a member of Daddy Cool in 2006. The final release of new Skyhooks material came in June 1999 when a twin-CD, Skyhooks: The Collection, was issued. Disc one contained a greatest hits package, very similar to "The Latest and Greatest", with additional tracks. Disc two is referred to by fans as "The Lost Album", with previously unreleased songs from their 1990 and 1994 recording sessions. CANNOTANSWER
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In 1992, Skyhooks were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame,