gaussalgo/Canard_Wiki-augmented huggingface dataset:
Alvin and the Chipmunks

Context: Theodore is the child of innocence and the youngest of the Chipmunks. He is shy, loving, sensitive, chubby, gullible, trusting, and naive. In short, he is an easy target for Alvin's manipulations. He wears green attire and has green eyes (brown in the CGI animated series). Theodore often holds the swing vote between his two brothers' choices of action. Simon appeals to Theodore's better nature while Alvin goes straight to bribery. He has a big appetite, constantly craving snacks and in one episode, Theodore tried to eat Alvin's hand because of his hunger. He plays the drums, the guitar, and other instruments. In vocal harmonies, his voice is typically the highest. He is fragile yet unpredictable and not very brave, but he will put on a brave face when his brothers are in trouble. At times, he is childish and Alvin's follower, but he is also the glue that binds his brothers despite Alvin and Simon's differences and regular disagreements. Although he is sometimes teased by Alvin, Theodore loves his big brother and knows that Alvin loves him too. He seems to have affection for Eleanor, who shares physical traits with him, but she is smarter, braver and more athletic. They each have a passion for cooking, as Theodore is seen baking Christmas cookies in some Christmas episodes. In the live action/animated films, it is revealed that Theodore is sensitive about his weight and is often hurt when he is criticized for his chubby physique. This also applies to Eleanor, but she is able to stand for herself and wishes that Theodore would do the same. Like his brothers, he was originally voiced by Ross Bagdasarian Sr. In the animated series and film, his voice was provided by Janice Karman, Ross Bagdasarian Jr.'s wife and the voice of all three Chipettes. Jesse McCartney voiced Theodore in the live-action/animated film series. CANNOTANSWER

Question: when was Theodore born?
Answer: CANNOTANSWER
Alvin and the Chipmunks

Context: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent (on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers) talking or singing at half the normal speaking rate. When the tape was played back at normal speed, they would sound a full octave higher in pitch, at normal tempo. The technique was by no means new to the Chipmunks. For example, the high and low pitched characters in The Wizard of Oz were achieved by speeding up and slowing down vocal recordings. Also, Mel Blanc's voice characterization for Daffy Duck was sped up to some extent. Now, the same effect is created digitally and in real time with a pitch shift. However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them. The term "chipmunk-voiced" has entered the American vernacular to describe any artificially high-pitched voice. A similar effect could be obtained in playback by merely taking an LP recorded at 33 1/3 RPM and playing it back at 45 or 78 RPM, a trick sometimes tried out by ordinary record listeners. The instrumental portions of the song are sped up as well, however, making it obvious that the music is being played at the wrong speed. Bagdasarian recorded vocals and music at different speeds to combine properly on his recording. Guitarist Les Paul said he visited Bagdasarian's studio in 1958 and helped with the recording. The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks. The sound was frequently imitated in comedy records, notably "Transistor Radio" by Benny Hill, "Bridget the Midget" by Ray Stevens, "The Laughing Gnome" by David Bowie, and on several tracks on Joe Meek and the Blue Men's album I Hear a New World. The technique also appears in the "Yeah! You!" line of The Coasters' "Charlie Brown". Prince used the technique on several of his songs, as well as Frank Zappa on We're Only In It For The Money and on the instrumental album Hot Rats, among others. The early production style of hip-hop artist Kanye West involved sped-up, high-pitch vocal samples from classic soul records incorporated with his own (additional) instrumentation. Due in part to the acclaim of his debut album The College Dropout, such sampling techniques subsequently became much copied by a myriad of other hip-hop producers. In the early '90s rave scene, many breakbeat hardcore productions would utilize the same studio tricks, often taking a cappella from house records and speeding them up to fit the faster tempo. Vocals in songs that used this method would typically be referred to as "chipmunk vocals". CANNOTANSWER

Question: How did the producers go about getting the voices of Alvin and the Chipmunks?
Answer: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent
Alvin and the Chipmunks

Context: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent (on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers) talking or singing at half the normal speaking rate. When the tape was played back at normal speed, they would sound a full octave higher in pitch, at normal tempo. The technique was by no means new to the Chipmunks. For example, the high and low pitched characters in The Wizard of Oz were achieved by speeding up and slowing down vocal recordings. Also, Mel Blanc's voice characterization for Daffy Duck was sped up to some extent. Now, the same effect is created digitally and in real time with a pitch shift. However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them. The term "chipmunk-voiced" has entered the American vernacular to describe any artificially high-pitched voice. A similar effect could be obtained in playback by merely taking an LP recorded at 33 1/3 RPM and playing it back at 45 or 78 RPM, a trick sometimes tried out by ordinary record listeners. The instrumental portions of the song are sped up as well, however, making it obvious that the music is being played at the wrong speed. Bagdasarian recorded vocals and music at different speeds to combine properly on his recording. Guitarist Les Paul said he visited Bagdasarian's studio in 1958 and helped with the recording. The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks. The sound was frequently imitated in comedy records, notably "Transistor Radio" by Benny Hill, "Bridget the Midget" by Ray Stevens, "The Laughing Gnome" by David Bowie, and on several tracks on Joe Meek and the Blue Men's album I Hear a New World. The technique also appears in the "Yeah! You!" line of The Coasters' "Charlie Brown". Prince used the technique on several of his songs, as well as Frank Zappa on We're Only In It For The Money and on the instrumental album Hot Rats, among others. The early production style of hip-hop artist Kanye West involved sped-up, high-pitch vocal samples from classic soul records incorporated with his own (additional) instrumentation. Due in part to the acclaim of his debut album The College Dropout, such sampling techniques subsequently became much copied by a myriad of other hip-hop producers. In the early '90s rave scene, many breakbeat hardcore productions would utilize the same studio tricks, often taking a cappella from house records and speeding them up to fit the faster tempo. Vocals in songs that used this method would typically be referred to as "chipmunk vocals". CANNOTANSWER

Question: Did the producers use different people for each of Alvin and the Chipmunks 'voices?
Answer: on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers
Alvin and the Chipmunks

Context: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent (on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers) talking or singing at half the normal speaking rate. When the tape was played back at normal speed, they would sound a full octave higher in pitch, at normal tempo. The technique was by no means new to the Chipmunks. For example, the high and low pitched characters in The Wizard of Oz were achieved by speeding up and slowing down vocal recordings. Also, Mel Blanc's voice characterization for Daffy Duck was sped up to some extent. Now, the same effect is created digitally and in real time with a pitch shift. However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them. The term "chipmunk-voiced" has entered the American vernacular to describe any artificially high-pitched voice. A similar effect could be obtained in playback by merely taking an LP recorded at 33 1/3 RPM and playing it back at 45 or 78 RPM, a trick sometimes tried out by ordinary record listeners. The instrumental portions of the song are sped up as well, however, making it obvious that the music is being played at the wrong speed. Bagdasarian recorded vocals and music at different speeds to combine properly on his recording. Guitarist Les Paul said he visited Bagdasarian's studio in 1958 and helped with the recording. The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks. The sound was frequently imitated in comedy records, notably "Transistor Radio" by Benny Hill, "Bridget the Midget" by Ray Stevens, "The Laughing Gnome" by David Bowie, and on several tracks on Joe Meek and the Blue Men's album I Hear a New World. The technique also appears in the "Yeah! You!" line of The Coasters' "Charlie Brown". Prince used the technique on several of his songs, as well as Frank Zappa on We're Only In It For The Money and on the instrumental album Hot Rats, among others. The early production style of hip-hop artist Kanye West involved sped-up, high-pitch vocal samples from classic soul records incorporated with his own (additional) instrumentation. Due in part to the acclaim of his debut album The College Dropout, such sampling techniques subsequently became much copied by a myriad of other hip-hop producers. In the early '90s rave scene, many breakbeat hardcore productions would utilize the same studio tricks, often taking a cappella from house records and speeding them up to fit the faster tempo. Vocals in songs that used this method would typically be referred to as "chipmunk vocals". CANNOTANSWER

Question: How did Ross Bagdasarian Sr. come up with the idea for Alvin and the Chipmunks' voices?
Answer: The technique was by no means new to the Chipmunks.
Alvin and the Chipmunks

Context: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent (on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers) talking or singing at half the normal speaking rate. When the tape was played back at normal speed, they would sound a full octave higher in pitch, at normal tempo. The technique was by no means new to the Chipmunks. For example, the high and low pitched characters in The Wizard of Oz were achieved by speeding up and slowing down vocal recordings. Also, Mel Blanc's voice characterization for Daffy Duck was sped up to some extent. Now, the same effect is created digitally and in real time with a pitch shift. However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them. The term "chipmunk-voiced" has entered the American vernacular to describe any artificially high-pitched voice. A similar effect could be obtained in playback by merely taking an LP recorded at 33 1/3 RPM and playing it back at 45 or 78 RPM, a trick sometimes tried out by ordinary record listeners. The instrumental portions of the song are sped up as well, however, making it obvious that the music is being played at the wrong speed. Bagdasarian recorded vocals and music at different speeds to combine properly on his recording. Guitarist Les Paul said he visited Bagdasarian's studio in 1958 and helped with the recording. The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks. The sound was frequently imitated in comedy records, notably "Transistor Radio" by Benny Hill, "Bridget the Midget" by Ray Stevens, "The Laughing Gnome" by David Bowie, and on several tracks on Joe Meek and the Blue Men's album I Hear a New World. The technique also appears in the "Yeah! You!" line of The Coasters' "Charlie Brown". Prince used the technique on several of his songs, as well as Frank Zappa on We're Only In It For The Money and on the instrumental album Hot Rats, among others. The early production style of hip-hop artist Kanye West involved sped-up, high-pitch vocal samples from classic soul records incorporated with his own (additional) instrumentation. Due in part to the acclaim of his debut album The College Dropout, such sampling techniques subsequently became much copied by a myriad of other hip-hop producers. In the early '90s rave scene, many breakbeat hardcore productions would utilize the same studio tricks, often taking a cappella from house records and speeding them up to fit the faster tempo. Vocals in songs that used this method would typically be referred to as "chipmunk vocals". CANNOTANSWER

Question: Did Ross Bagdasarian Sr. use his own voice with any other characters aside from Alvin and the Chipmunks?
Answer: The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks.
Alvin and the Chipmunks

Context: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent (on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers) talking or singing at half the normal speaking rate. When the tape was played back at normal speed, they would sound a full octave higher in pitch, at normal tempo. The technique was by no means new to the Chipmunks. For example, the high and low pitched characters in The Wizard of Oz were achieved by speeding up and slowing down vocal recordings. Also, Mel Blanc's voice characterization for Daffy Duck was sped up to some extent. Now, the same effect is created digitally and in real time with a pitch shift. However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them. The term "chipmunk-voiced" has entered the American vernacular to describe any artificially high-pitched voice. A similar effect could be obtained in playback by merely taking an LP recorded at 33 1/3 RPM and playing it back at 45 or 78 RPM, a trick sometimes tried out by ordinary record listeners. The instrumental portions of the song are sped up as well, however, making it obvious that the music is being played at the wrong speed. Bagdasarian recorded vocals and music at different speeds to combine properly on his recording. Guitarist Les Paul said he visited Bagdasarian's studio in 1958 and helped with the recording. The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks. The sound was frequently imitated in comedy records, notably "Transistor Radio" by Benny Hill, "Bridget the Midget" by Ray Stevens, "The Laughing Gnome" by David Bowie, and on several tracks on Joe Meek and the Blue Men's album I Hear a New World. The technique also appears in the "Yeah! You!" line of The Coasters' "Charlie Brown". Prince used the technique on several of his songs, as well as Frank Zappa on We're Only In It For The Money and on the instrumental album Hot Rats, among others. The early production style of hip-hop artist Kanye West involved sped-up, high-pitch vocal samples from classic soul records incorporated with his own (additional) instrumentation. Due in part to the acclaim of his debut album The College Dropout, such sampling techniques subsequently became much copied by a myriad of other hip-hop producers. In the early '90s rave scene, many breakbeat hardcore productions would utilize the same studio tricks, often taking a cappella from house records and speeding them up to fit the faster tempo. Vocals in songs that used this method would typically be referred to as "chipmunk vocals". CANNOTANSWER

Question: Did Ross Bagdasarian Sr. do any other movies besides Alvin and the Chipmunks?
Answer: CANNOTANSWER
Alvin and the Chipmunks

Context: The Chipmunks' voices were recorded at half the normal tape speed onto audiotape by voice talent (on the 60's records, generally Ross Bagdasarian Sr.'s own voice overdubbed three times, on the post-80's records, studio singers) talking or singing at half the normal speaking rate. When the tape was played back at normal speed, they would sound a full octave higher in pitch, at normal tempo. The technique was by no means new to the Chipmunks. For example, the high and low pitched characters in The Wizard of Oz were achieved by speeding up and slowing down vocal recordings. Also, Mel Blanc's voice characterization for Daffy Duck was sped up to some extent. Now, the same effect is created digitally and in real time with a pitch shift. However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them. The term "chipmunk-voiced" has entered the American vernacular to describe any artificially high-pitched voice. A similar effect could be obtained in playback by merely taking an LP recorded at 33 1/3 RPM and playing it back at 45 or 78 RPM, a trick sometimes tried out by ordinary record listeners. The instrumental portions of the song are sped up as well, however, making it obvious that the music is being played at the wrong speed. Bagdasarian recorded vocals and music at different speeds to combine properly on his recording. Guitarist Les Paul said he visited Bagdasarian's studio in 1958 and helped with the recording. The technique was used extensively in the British puppet show Pinky and Perky, which pre-dated the Chipmunks. The sound was frequently imitated in comedy records, notably "Transistor Radio" by Benny Hill, "Bridget the Midget" by Ray Stevens, "The Laughing Gnome" by David Bowie, and on several tracks on Joe Meek and the Blue Men's album I Hear a New World. The technique also appears in the "Yeah! You!" line of The Coasters' "Charlie Brown". Prince used the technique on several of his songs, as well as Frank Zappa on We're Only In It For The Money and on the instrumental album Hot Rats, among others. The early production style of hip-hop artist Kanye West involved sped-up, high-pitch vocal samples from classic soul records incorporated with his own (additional) instrumentation. Due in part to the acclaim of his debut album The College Dropout, such sampling techniques subsequently became much copied by a myriad of other hip-hop producers. In the early '90s rave scene, many breakbeat hardcore productions would utilize the same studio tricks, often taking a cappella from house records and speeding them up to fit the faster tempo. Vocals in songs that used this method would typically be referred to as "chipmunk vocals". CANNOTANSWER

Question: Aside from the voice creation, are there any other interesting aspects about this article?
Answer: However, the extensive use of this technique with the Chipmunks, coupled with their popularity, linked this technique to them.
Sampler (musical instrument)

Context: A sampler is organized into a hierarchy of progressively more complicated data structures. At the bottom lie samples, individual recordings of any sound, recorded at a particular sample rate and resolution. While a common sound to sample is a musical instrument being played (e.g., a pianist playing a piano note or an organist playing a pipe organ), a sample could be any sound, including "non-musical" sounds such as a typewriter clacking or a dog barking. A reference center pitch indicates the actual frequency of the recorded note. Samples may also be "looped" by defining points at which a repeated section of the sample starts and ends, allowing a relatively short sample to play endlessly. In some cases, a "loop crossfade" is indicated, allowing less obvious transitions at the loop point by fading the end of the loop out while fading its beginning in. Keymaps are arranged into instruments. At this level parameters may be added to define how the keymaps are played. Filters can be applied to change the sound-color while low frequency oscillators and envelope generators can shape the amplitude, pitch, filter or other parameters of the sound. Instruments may have multiple layers of keymaps in order to play more than one sample at the same time and each keymap may have a different set of parameters so that the incoming note-events affect each layer differently. For example, two layers may have a different sensitivity to the velocity of the incoming note, altering the resulting timbre according to how hard the note is played. At this level, there are two basic approaches to sampler organization. In a bank approach, each instrument is assigned to a different MIDI channel and multiple banks can be stored to reconfigure the sampler. A different and more powerful approach is to associate each instrument with a patch number or ID so that each MIDI channel can be configured separately by sending controller information on the individual channel. CANNOTANSWER

Question: can you explain the Sampler heiarchy
Answer: A sampler is organized into a hierarchy of progressively more complicated data structures.
Sampler (musical instrument)

Context: A sampler is organized into a hierarchy of progressively more complicated data structures. At the bottom lie samples, individual recordings of any sound, recorded at a particular sample rate and resolution. While a common sound to sample is a musical instrument being played (e.g., a pianist playing a piano note or an organist playing a pipe organ), a sample could be any sound, including "non-musical" sounds such as a typewriter clacking or a dog barking. A reference center pitch indicates the actual frequency of the recorded note. Samples may also be "looped" by defining points at which a repeated section of the sample starts and ends, allowing a relatively short sample to play endlessly. In some cases, a "loop crossfade" is indicated, allowing less obvious transitions at the loop point by fading the end of the loop out while fading its beginning in. Keymaps are arranged into instruments. At this level parameters may be added to define how the keymaps are played. Filters can be applied to change the sound-color while low frequency oscillators and envelope generators can shape the amplitude, pitch, filter or other parameters of the sound. Instruments may have multiple layers of keymaps in order to play more than one sample at the same time and each keymap may have a different set of parameters so that the incoming note-events affect each layer differently. For example, two layers may have a different sensitivity to the velocity of the incoming note, altering the resulting timbre according to how hard the note is played. At this level, there are two basic approaches to sampler organization. In a bank approach, each instrument is assigned to a different MIDI channel and multiple banks can be stored to reconfigure the sampler. A different and more powerful approach is to associate each instrument with a patch number or ID so that each MIDI channel can be configured separately by sending controller information on the individual channel. CANNOTANSWER

Question: so how does Sampler have have any exciting points
Answer: Keymaps are arranged into instruments.
Sampler (musical instrument)

Context: A sampler is organized into a hierarchy of progressively more complicated data structures. At the bottom lie samples, individual recordings of any sound, recorded at a particular sample rate and resolution. While a common sound to sample is a musical instrument being played (e.g., a pianist playing a piano note or an organist playing a pipe organ), a sample could be any sound, including "non-musical" sounds such as a typewriter clacking or a dog barking. A reference center pitch indicates the actual frequency of the recorded note. Samples may also be "looped" by defining points at which a repeated section of the sample starts and ends, allowing a relatively short sample to play endlessly. In some cases, a "loop crossfade" is indicated, allowing less obvious transitions at the loop point by fading the end of the loop out while fading its beginning in. Keymaps are arranged into instruments. At this level parameters may be added to define how the keymaps are played. Filters can be applied to change the sound-color while low frequency oscillators and envelope generators can shape the amplitude, pitch, filter or other parameters of the sound. Instruments may have multiple layers of keymaps in order to play more than one sample at the same time and each keymap may have a different set of parameters so that the incoming note-events affect each layer differently. For example, two layers may have a different sensitivity to the velocity of the incoming note, altering the resulting timbre according to how hard the note is played. At this level, there are two basic approaches to sampler organization. In a bank approach, each instrument is assigned to a different MIDI channel and multiple banks can be stored to reconfigure the sampler. A different and more powerful approach is to associate each instrument with a patch number or ID so that each MIDI channel can be configured separately by sending controller information on the individual channel. CANNOTANSWER

Question: anything else about Sampler, other than it having any sound?
Answer: At this level parameters may be added to define how the keymaps are played.
Sampler (musical instrument)

Context: A sampler is organized into a hierarchy of progressively more complicated data structures. At the bottom lie samples, individual recordings of any sound, recorded at a particular sample rate and resolution. While a common sound to sample is a musical instrument being played (e.g., a pianist playing a piano note or an organist playing a pipe organ), a sample could be any sound, including "non-musical" sounds such as a typewriter clacking or a dog barking. A reference center pitch indicates the actual frequency of the recorded note. Samples may also be "looped" by defining points at which a repeated section of the sample starts and ends, allowing a relatively short sample to play endlessly. In some cases, a "loop crossfade" is indicated, allowing less obvious transitions at the loop point by fading the end of the loop out while fading its beginning in. Keymaps are arranged into instruments. At this level parameters may be added to define how the keymaps are played. Filters can be applied to change the sound-color while low frequency oscillators and envelope generators can shape the amplitude, pitch, filter or other parameters of the sound. Instruments may have multiple layers of keymaps in order to play more than one sample at the same time and each keymap may have a different set of parameters so that the incoming note-events affect each layer differently. For example, two layers may have a different sensitivity to the velocity of the incoming note, altering the resulting timbre according to how hard the note is played. At this level, there are two basic approaches to sampler organization. In a bank approach, each instrument is assigned to a different MIDI channel and multiple banks can be stored to reconfigure the sampler. A different and more powerful approach is to associate each instrument with a patch number or ID so that each MIDI channel can be configured separately by sending controller information on the individual channel. CANNOTANSWER

Question: Was Sampler great technology
Answer: CANNOTANSWER
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: What were some of Cosmo Kramer's pseudonyms?
Answer: H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular.
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: Which episode did Cosmo Kramer use the name H.E. Pennypacker in?
Answer: Puerto Rican Day
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: What happened in The Puerto Rican Day episode?
Answer: Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: Does Cosmo Kramer end up getting the apartment in The Puerto Rican Day episode?
Answer: CANNOTANSWER
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: In addition to H.E. Pennypacker, what other names does Cosmo Kramer use?
Answer: and Professor Peter
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: Which episode does Kramer use the name Dr. Martin van Nostrand in?
Answer: Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package
Cosmo Kramer

Context: Like the other three characters, Kramer has pseudonyms he uses in various schemes; H.E. Pennypacker, Dr. Martin van Nostrand, and Professor Peter van Nostrand are the most popular. Under the name H.E. Pennypacker in "The Puerto Rican Day", Kramer poses as a prospective buyer interested in an elegant apartment in order to use its bathroom. Kramer also appears as Pennypacker to help Elaine get revenge on a Mayan clothing store, "Putumayo", by repricing all the merchandise in the store with a pricing gun in "The Millennium", though due to a mishap with the pricing gun, Pennypacker was forced to instead remove the desiccants from clothes in the store in order to render them "noticeably musty in five years". In this latter capacity, he claims Pennypacker is "a wealthy American industrialist." As Dr. Martin van Nostrand, Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made in "The Package". He also uses the Van Nostrand alias in the episode "The Slicer", posing as a "Juilliard-trained dermatologist" for a cancer screening at George's company, Kruger Industrial Smoothing. Mr. Kruger later recognizes him as Dr. Van Nostrand in "The Strike", but does not notice when Kramer says he has to work a double shift at H&H Bagels, something a successful dermatologist certainly wouldn't have to do. Kramer uses the name Martin van Nostrand (without the "doctor" prefix) while auditioning for the role of himself on the show Jerry in "The Pilot, Part 1". Kramer poses as Professor Peter van Nostrand in "The Nose Job" in order to retrieve a favorite jacket from another man's apartment; Kramer's jacket, to which he attributes at least some of his amorous success, is a minor plot point in other episodes until, in "The Cheever Letters", he trades it to a Cuban embassy official for several boxes of authentic Cuban cigars. Kramer is also referred to as "Assman" in reference to the license plate the state of New York accidentally gave him in "The Fusilli Jerry". He is also occasionally called "the K-Man" ("The Barber", "The Bizarro Jerry", "The Busboy", "The Note", "The Hamptons", "The Scofflaw" and "The Soup Nazi"). A derogatory designation for Kramer has been "hipster doofus", a moniker assigned to him by a woman in a wheelchair he once dated in the episode "The Handicap Spot", and occasionally directed at him by Elaine, as in "The Glasses". The nickname was first used in The Atlantic Monthly review of Seinfeld. CANNOTANSWER

Question: What is the main plot of The Package episode?
Answer: Kramer tries to get hold of Elaine's medical chart to erase the negative comments her doctor has made