gaussalgo/Canard_Wiki-augmented huggingface dataset:
Ayumi Hamasaki

Context: Born in Fukuoka Prefecture, Hamasaki was raised as an only child by her mother and grandmother. Her father had left the family when she was three and never again came into contact with her. Hamasaki's mother worked to support the family, so Hamasaki was primarily taken care of by her grandmother. She described herself as a "tomboy" when she was a teenager, and as a "strange kid" who "liked to be alone". At age seven, Hamasaki began modeling for local institutions, such as banks, in order to supplement the family's income. She continued this career path by leaving her family at fourteen and moving to Tokyo as a model under SOS, a talent agency. Her modeling career did not last long; SOS eventually deemed her too short for a model and transferred her to Sun Music, a musicians' agency. Under the name of "Ayumi", Hamasaki released a rap EP, Nothing from Nothing, on the Nippon Columbia label in 1995. She was dismissed from the label when the album failed to chart on the Oricon. After this failure, Hamasaki took up acting and starred in B-movies such as Ladys Ladys!! Socho Saigo no Hi and television dramas such as Miseinen, which were poorly received by the public. From August 1995 to March 1996, Hamasaki also co-hosted the SoundLink "magazine" Hokago no Osama (After-school King) for the Nintendo Satellaview once a week with Shigeru Izumiya. Growing dissatisfied with her job, Hamasaki quit acting and moved in with her mother, who had recently moved to Tokyo. Hamasaki was initially a good student, earning good grades in junior high school. Eventually, she lost faith in the curriculum, thinking that the subjects taught were of no use to her. Her grades worsened as she refused to put her mind to her studies. While living in Tokyo, she attempted to further her studies at Horikoshi Gakuen, a high school for the arts, but dropped out in the first year. Hamasaki did not attend school or have a job, so she spent much of her time shopping at Shibuya boutiques and dancing at Velfarre, an Avex-owned disco club. At Velfarre, she was introduced to her future producer, Max Matsuura, through a friend. After hearing Hamasaki sing karaoke, Matsuura offered her a recording deal, but Hamasaki suspected ulterior motives and turned the offer down. He persisted and succeeded in recruiting her for the Avex label in the following year. Hamasaki started vocal training, but skipped most of her classes after finding her instructors to be too rigid and the classes dull. When she confessed this to Matsuura, he sent her to New York to train her vocals under another method. During her foreign sojourn, Hamasaki frequently corresponded with Matsuura and impressed him with her style of writing. On her return to Japan, he suggested that she try writing her own lyrics. CANNOTANSWER

Question: Did Ayumi Hamasaki gain any recognition from dancing at Velfarre?
Answer: At Velfarre, she was introduced to her future producer, Max Matsuura, through a friend.
Robert M. Price

Context: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.  In the documentary The God Who Wasn't There, Price supports a version of the Christ myth theory, suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean dying-rising saviour myths of the time, such as that of Dionysus. He argues that the comparisons were known at the time, as early church father Justin Martyr had admitted the similarities. Price suggests that Christianity simply adopted themes from the dying-rising god stories of the day and supplemented them with themes (escaping crosses, empty tombs, children being persecuted by tyrants, etc.) from the popular stories of the day in order to come up with the narratives about Christ. [Per the Kyrios Christos Cult] The ancient Mediterranean world was hip-deep in religions centering on the death and resurrection of a savior god. [...] It is very hard not to see extensive and basic similarities between these religions and the Christian religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons. [...] But it seems to me that the definitive proof that the resurrection of the Mystery Religion saviors preceded Christianity is the fact that ancient Christian apologists did not deny it! [...] A Christ religion modeled after a Mystery cult is a Mystery cult, [and against Mack's Christ cult] a Christ cult worthy of the name. This is what we expect Burton Mack to be talking about when he talks about Christ cults. Price notes that historians of classical antiquity approached mythical figures such as Heracles by rejecting supernatural tales while doggedly assuming that "a genuine historical figure" could be identified at the root of the legend. He describes this general approach as Euhemerism, and argues that most historical Jesus research today is also Euhemerist. Price argues that Jesus is like other ancient mythic figures, in that no mundane, secular information seems to have survived. Accordingly, Jesus also should be regarded as a mythic figure. But, Price admits to some uncertainty in this regard. He writes at the conclusion of his 2000 book Deconstructing Jesus: "There may have been a real figure there, but there is simply no longer any way of being sure." CANNOTANSWER

Question: What did Robert M. Price do to be a hero.
Answer: CANNOTANSWER
Robert M. Price

Context: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.  In the documentary The God Who Wasn't There, Price supports a version of the Christ myth theory, suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean dying-rising saviour myths of the time, such as that of Dionysus. He argues that the comparisons were known at the time, as early church father Justin Martyr had admitted the similarities. Price suggests that Christianity simply adopted themes from the dying-rising god stories of the day and supplemented them with themes (escaping crosses, empty tombs, children being persecuted by tyrants, etc.) from the popular stories of the day in order to come up with the narratives about Christ. [Per the Kyrios Christos Cult] The ancient Mediterranean world was hip-deep in religions centering on the death and resurrection of a savior god. [...] It is very hard not to see extensive and basic similarities between these religions and the Christian religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons. [...] But it seems to me that the definitive proof that the resurrection of the Mystery Religion saviors preceded Christianity is the fact that ancient Christian apologists did not deny it! [...] A Christ religion modeled after a Mystery cult is a Mystery cult, [and against Mack's Christ cult] a Christ cult worthy of the name. This is what we expect Burton Mack to be talking about when he talks about Christ cults. Price notes that historians of classical antiquity approached mythical figures such as Heracles by rejecting supernatural tales while doggedly assuming that "a genuine historical figure" could be identified at the root of the legend. He describes this general approach as Euhemerism, and argues that most historical Jesus research today is also Euhemerist. Price argues that Jesus is like other ancient mythic figures, in that no mundane, secular information seems to have survived. Accordingly, Jesus also should be regarded as a mythic figure. But, Price admits to some uncertainty in this regard. He writes at the conclusion of his 2000 book Deconstructing Jesus: "There may have been a real figure there, but there is simply no longer any way of being sure." CANNOTANSWER

Question: In addition to being a hero, was Robert M. Price known for anything else?
Answer: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.
Robert M. Price

Context: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.  In the documentary The God Who Wasn't There, Price supports a version of the Christ myth theory, suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean dying-rising saviour myths of the time, such as that of Dionysus. He argues that the comparisons were known at the time, as early church father Justin Martyr had admitted the similarities. Price suggests that Christianity simply adopted themes from the dying-rising god stories of the day and supplemented them with themes (escaping crosses, empty tombs, children being persecuted by tyrants, etc.) from the popular stories of the day in order to come up with the narratives about Christ. [Per the Kyrios Christos Cult] The ancient Mediterranean world was hip-deep in religions centering on the death and resurrection of a savior god. [...] It is very hard not to see extensive and basic similarities between these religions and the Christian religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons. [...] But it seems to me that the definitive proof that the resurrection of the Mystery Religion saviors preceded Christianity is the fact that ancient Christian apologists did not deny it! [...] A Christ religion modeled after a Mystery cult is a Mystery cult, [and against Mack's Christ cult] a Christ cult worthy of the name. This is what we expect Burton Mack to be talking about when he talks about Christ cults. Price notes that historians of classical antiquity approached mythical figures such as Heracles by rejecting supernatural tales while doggedly assuming that "a genuine historical figure" could be identified at the root of the legend. He describes this general approach as Euhemerism, and argues that most historical Jesus research today is also Euhemerist. Price argues that Jesus is like other ancient mythic figures, in that no mundane, secular information seems to have survived. Accordingly, Jesus also should be regarded as a mythic figure. But, Price admits to some uncertainty in this regard. He writes at the conclusion of his 2000 book Deconstructing Jesus: "There may have been a real figure there, but there is simply no longer any way of being sure." CANNOTANSWER

Question: What were Robert M. Prices religious views?
Answer: suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean
Robert M. Price

Context: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.  In the documentary The God Who Wasn't There, Price supports a version of the Christ myth theory, suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean dying-rising saviour myths of the time, such as that of Dionysus. He argues that the comparisons were known at the time, as early church father Justin Martyr had admitted the similarities. Price suggests that Christianity simply adopted themes from the dying-rising god stories of the day and supplemented them with themes (escaping crosses, empty tombs, children being persecuted by tyrants, etc.) from the popular stories of the day in order to come up with the narratives about Christ. [Per the Kyrios Christos Cult] The ancient Mediterranean world was hip-deep in religions centering on the death and resurrection of a savior god. [...] It is very hard not to see extensive and basic similarities between these religions and the Christian religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons. [...] But it seems to me that the definitive proof that the resurrection of the Mystery Religion saviors preceded Christianity is the fact that ancient Christian apologists did not deny it! [...] A Christ religion modeled after a Mystery cult is a Mystery cult, [and against Mack's Christ cult] a Christ cult worthy of the name. This is what we expect Burton Mack to be talking about when he talks about Christ cults. Price notes that historians of classical antiquity approached mythical figures such as Heracles by rejecting supernatural tales while doggedly assuming that "a genuine historical figure" could be identified at the root of the legend. He describes this general approach as Euhemerism, and argues that most historical Jesus research today is also Euhemerist. Price argues that Jesus is like other ancient mythic figures, in that no mundane, secular information seems to have survived. Accordingly, Jesus also should be regarded as a mythic figure. But, Price admits to some uncertainty in this regard. He writes at the conclusion of his 2000 book Deconstructing Jesus: "There may have been a real figure there, but there is simply no longer any way of being sure." CANNOTANSWER

Question: Did Robert M. Price adopt Christianity?
Answer: CANNOTANSWER
Robert M. Price

Context: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.  In the documentary The God Who Wasn't There, Price supports a version of the Christ myth theory, suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean dying-rising saviour myths of the time, such as that of Dionysus. He argues that the comparisons were known at the time, as early church father Justin Martyr had admitted the similarities. Price suggests that Christianity simply adopted themes from the dying-rising god stories of the day and supplemented them with themes (escaping crosses, empty tombs, children being persecuted by tyrants, etc.) from the popular stories of the day in order to come up with the narratives about Christ. [Per the Kyrios Christos Cult] The ancient Mediterranean world was hip-deep in religions centering on the death and resurrection of a savior god. [...] It is very hard not to see extensive and basic similarities between these religions and the Christian religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons. [...] But it seems to me that the definitive proof that the resurrection of the Mystery Religion saviors preceded Christianity is the fact that ancient Christian apologists did not deny it! [...] A Christ religion modeled after a Mystery cult is a Mystery cult, [and against Mack's Christ cult] a Christ cult worthy of the name. This is what we expect Burton Mack to be talking about when he talks about Christ cults. Price notes that historians of classical antiquity approached mythical figures such as Heracles by rejecting supernatural tales while doggedly assuming that "a genuine historical figure" could be identified at the root of the legend. He describes this general approach as Euhemerism, and argues that most historical Jesus research today is also Euhemerist. Price argues that Jesus is like other ancient mythic figures, in that no mundane, secular information seems to have survived. Accordingly, Jesus also should be regarded as a mythic figure. But, Price admits to some uncertainty in this regard. He writes at the conclusion of his 2000 book Deconstructing Jesus: "There may have been a real figure there, but there is simply no longer any way of being sure." CANNOTANSWER

Question: Did Robert M. Price ever marry?
Answer: CANNOTANSWER
Robert M. Price

Context: He views Jesus of Nazareth as an invented figure conforming to the Rank-Raglan mythotype.  In the documentary The God Who Wasn't There, Price supports a version of the Christ myth theory, suggesting that the early Christians adopted the model for the figure of Jesus from the popular Mediterranean dying-rising saviour myths of the time, such as that of Dionysus. He argues that the comparisons were known at the time, as early church father Justin Martyr had admitted the similarities. Price suggests that Christianity simply adopted themes from the dying-rising god stories of the day and supplemented them with themes (escaping crosses, empty tombs, children being persecuted by tyrants, etc.) from the popular stories of the day in order to come up with the narratives about Christ. [Per the Kyrios Christos Cult] The ancient Mediterranean world was hip-deep in religions centering on the death and resurrection of a savior god. [...] It is very hard not to see extensive and basic similarities between these religions and the Christian religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons. [...] But it seems to me that the definitive proof that the resurrection of the Mystery Religion saviors preceded Christianity is the fact that ancient Christian apologists did not deny it! [...] A Christ religion modeled after a Mystery cult is a Mystery cult, [and against Mack's Christ cult] a Christ cult worthy of the name. This is what we expect Burton Mack to be talking about when he talks about Christ cults. Price notes that historians of classical antiquity approached mythical figures such as Heracles by rejecting supernatural tales while doggedly assuming that "a genuine historical figure" could be identified at the root of the legend. He describes this general approach as Euhemerism, and argues that most historical Jesus research today is also Euhemerist. Price argues that Jesus is like other ancient mythic figures, in that no mundane, secular information seems to have survived. Accordingly, Jesus also should be regarded as a mythic figure. But, Price admits to some uncertainty in this regard. He writes at the conclusion of his 2000 book Deconstructing Jesus: "There may have been a real figure there, but there is simply no longer any way of being sure." CANNOTANSWER

Question: Did Robert M. Price have a family?
Answer: CANNOTANSWER
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: What kind of music does Clint Eastwood like?
Answer: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music;
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: Does Eastwood play a musical instrument?
Answer: He is also a pianist and composer.
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: Is Eastwood part of a record label?
Answer: Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records,
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: What music did Warner Bros release?
Answer: which has released all of the scores of Eastwood's films from The Bridges of Madison County onward.
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: Along with The Bridges of Madison County did Eastwood make music for any other movies?
Answer: Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling,
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: Has Eastwood received any awards?
Answer: The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards.
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: Besides his Golden Globe nominations was Eastwood been nominated for any other awards?
Answer: Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song.
Clint Eastwood

Context: Eastwood favors jazz (especially bebop), blues, classic rhythm and blues, classical, and country-and-western music; his favorite musicians include saxophonists Charlie Parker and Lester Young, pianists Thelonious Monk, Oscar Peterson, Dave Brubeck, and Fats Waller, and Delta bluesman Robert Johnson. He is also a pianist and composer. Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label. Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall. Eastwood composed the film scores of Mystic River, Million Dollar Baby, Flags of Our Fathers, Grace Is Gone, Changeling, Hereafter, J. Edgar, and the original piano compositions for In the Line of Fire. He wrote and performed the song heard over the credits of Gran Torino. The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song. It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime." CANNOTANSWER

Question: Aside from Best Score has Eastwood received any other important awards?
Answer: It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards,
Michael Portillo

Context: In 1987, Portillo was given his first ministerial post, as Parliamentary Under-Secretary of State for Social Security; the following year, he was promoted to Minister of State for Transport. Portillo has stated that he considers "saving the Settle to Carlisle railway" was his greatest achievement. In 1990, Portillo was appointed Minister of State for Local Government, in which post he argued in favour of the ultimately highly unpopular Community Charge system (popularly known as "the Poll Tax"). He demonstrated a consistently right-of-centre line (exemplified by his insistence, in a well-publicised speech, of placing "clear blue water" between the policies of the Conservatives and other parties) and was favoured by Norman Tebbit and Margaret Thatcher, who said of him "[W]e expect great things of you, do not disappoint us". His rise continued under John Major; he was made a Cabinet Minister in 1992 as Chief Secretary to the Treasury and was admitted to the Privy Council the same year. He subsequently became Secretary of State for Employment (1994-95), and then Secretary of State for Defence (1995-1997). As Defence Secretary, Portillo became the object of criticism when he invoked the motto of the SAS, "Who Dares, Wins", at a speech at the 1995 Conservative Party annual conference. His high profile led to constant attention from the media, including Private Eye, which mockingly referred to him as "Portaloo". He was accused of vanity when the Alexandra Palace was hired to celebrate his ten years in politics. Some saw the Defence Secretary post as a reward for Portillo's cautious loyalty to Major during the 1995 leadership challenge of John Redwood, following Major's "back me or sack me" resignation as party leader. Many urged Portillo, the "darling of the right", to run against Major. He declined to enter the first round, but planned to challenge Major if the contest went to a second round. To this end, he set up a potential campaign headquarters, with banks of telephone lines. He later admitted that this had been an error: "I did not want to oppose [Major], but neither did I want to close the possibility of entering a second ballot if it came to that." Portillo acknowledged that "ambiguity is unattractive" and his opponents within the party later used Portillo's apparent equivocation as an example of his indecisiveness; "I appeared happy to wound but afraid to strike: a dishonourable position." CANNOTANSWER

Question: What did Michale Protillo do in government?
Answer: In 1987, Portillo was given his first ministerial post, as Parliamentary Under-Secretary of State for Social Security;
Michael Portillo

Context: In 1987, Portillo was given his first ministerial post, as Parliamentary Under-Secretary of State for Social Security; the following year, he was promoted to Minister of State for Transport. Portillo has stated that he considers "saving the Settle to Carlisle railway" was his greatest achievement. In 1990, Portillo was appointed Minister of State for Local Government, in which post he argued in favour of the ultimately highly unpopular Community Charge system (popularly known as "the Poll Tax"). He demonstrated a consistently right-of-centre line (exemplified by his insistence, in a well-publicised speech, of placing "clear blue water" between the policies of the Conservatives and other parties) and was favoured by Norman Tebbit and Margaret Thatcher, who said of him "[W]e expect great things of you, do not disappoint us". His rise continued under John Major; he was made a Cabinet Minister in 1992 as Chief Secretary to the Treasury and was admitted to the Privy Council the same year. He subsequently became Secretary of State for Employment (1994-95), and then Secretary of State for Defence (1995-1997). As Defence Secretary, Portillo became the object of criticism when he invoked the motto of the SAS, "Who Dares, Wins", at a speech at the 1995 Conservative Party annual conference. His high profile led to constant attention from the media, including Private Eye, which mockingly referred to him as "Portaloo". He was accused of vanity when the Alexandra Palace was hired to celebrate his ten years in politics. Some saw the Defence Secretary post as a reward for Portillo's cautious loyalty to Major during the 1995 leadership challenge of John Redwood, following Major's "back me or sack me" resignation as party leader. Many urged Portillo, the "darling of the right", to run against Major. He declined to enter the first round, but planned to challenge Major if the contest went to a second round. To this end, he set up a potential campaign headquarters, with banks of telephone lines. He later admitted that this had been an error: "I did not want to oppose [Major], but neither did I want to close the possibility of entering a second ballot if it came to that." Portillo acknowledged that "ambiguity is unattractive" and his opponents within the party later used Portillo's apparent equivocation as an example of his indecisiveness; "I appeared happy to wound but afraid to strike: a dishonourable position." CANNOTANSWER

Question: Besides working as Under-Secretary of State for Social Security, are there any other interesting aspects about Michael Portillo?
Answer: His high profile led to constant attention from the media, including Private Eye, which mockingly referred to him as "Portaloo".
Michael Portillo

Context: In 1987, Portillo was given his first ministerial post, as Parliamentary Under-Secretary of State for Social Security; the following year, he was promoted to Minister of State for Transport. Portillo has stated that he considers "saving the Settle to Carlisle railway" was his greatest achievement. In 1990, Portillo was appointed Minister of State for Local Government, in which post he argued in favour of the ultimately highly unpopular Community Charge system (popularly known as "the Poll Tax"). He demonstrated a consistently right-of-centre line (exemplified by his insistence, in a well-publicised speech, of placing "clear blue water" between the policies of the Conservatives and other parties) and was favoured by Norman Tebbit and Margaret Thatcher, who said of him "[W]e expect great things of you, do not disappoint us". His rise continued under John Major; he was made a Cabinet Minister in 1992 as Chief Secretary to the Treasury and was admitted to the Privy Council the same year. He subsequently became Secretary of State for Employment (1994-95), and then Secretary of State for Defence (1995-1997). As Defence Secretary, Portillo became the object of criticism when he invoked the motto of the SAS, "Who Dares, Wins", at a speech at the 1995 Conservative Party annual conference. His high profile led to constant attention from the media, including Private Eye, which mockingly referred to him as "Portaloo". He was accused of vanity when the Alexandra Palace was hired to celebrate his ten years in politics. Some saw the Defence Secretary post as a reward for Portillo's cautious loyalty to Major during the 1995 leadership challenge of John Redwood, following Major's "back me or sack me" resignation as party leader. Many urged Portillo, the "darling of the right", to run against Major. He declined to enter the first round, but planned to challenge Major if the contest went to a second round. To this end, he set up a potential campaign headquarters, with banks of telephone lines. He later admitted that this had been an error: "I did not want to oppose [Major], but neither did I want to close the possibility of entering a second ballot if it came to that." Portillo acknowledged that "ambiguity is unattractive" and his opponents within the party later used Portillo's apparent equivocation as an example of his indecisiveness; "I appeared happy to wound but afraid to strike: a dishonourable position." CANNOTANSWER

Question: In addition to being appointed Minister of State for Local Government and being Under-Secretary of State for Social Security, did Michael Portillo have any other government roles?
Answer: he was promoted to Minister of State for Transport.
Michael Portillo

Context: In 1987, Portillo was given his first ministerial post, as Parliamentary Under-Secretary of State for Social Security; the following year, he was promoted to Minister of State for Transport. Portillo has stated that he considers "saving the Settle to Carlisle railway" was his greatest achievement. In 1990, Portillo was appointed Minister of State for Local Government, in which post he argued in favour of the ultimately highly unpopular Community Charge system (popularly known as "the Poll Tax"). He demonstrated a consistently right-of-centre line (exemplified by his insistence, in a well-publicised speech, of placing "clear blue water" between the policies of the Conservatives and other parties) and was favoured by Norman Tebbit and Margaret Thatcher, who said of him "[W]e expect great things of you, do not disappoint us". His rise continued under John Major; he was made a Cabinet Minister in 1992 as Chief Secretary to the Treasury and was admitted to the Privy Council the same year. He subsequently became Secretary of State for Employment (1994-95), and then Secretary of State for Defence (1995-1997). As Defence Secretary, Portillo became the object of criticism when he invoked the motto of the SAS, "Who Dares, Wins", at a speech at the 1995 Conservative Party annual conference. His high profile led to constant attention from the media, including Private Eye, which mockingly referred to him as "Portaloo". He was accused of vanity when the Alexandra Palace was hired to celebrate his ten years in politics. Some saw the Defence Secretary post as a reward for Portillo's cautious loyalty to Major during the 1995 leadership challenge of John Redwood, following Major's "back me or sack me" resignation as party leader. Many urged Portillo, the "darling of the right", to run against Major. He declined to enter the first round, but planned to challenge Major if the contest went to a second round. To this end, he set up a potential campaign headquarters, with banks of telephone lines. He later admitted that this had been an error: "I did not want to oppose [Major], but neither did I want to close the possibility of entering a second ballot if it came to that." Portillo acknowledged that "ambiguity is unattractive" and his opponents within the party later used Portillo's apparent equivocation as an example of his indecisiveness; "I appeared happy to wound but afraid to strike: a dishonourable position." CANNOTANSWER

Question: What kinds of issues was Michael Portillo involved in?
Answer: In 1990, Portillo was appointed Minister of State for Local Government, in which post he argued in favour of the ultimately highly unpopular Community Charge system