gaussalgo/Canard_Wiki-augmented huggingface dataset:
Phil Spector

Context: Having learned to play guitar, Spector performed "Rock Island Line" in a talent show at Fairfax High School, where he was a student. While at Fairfax, he joined a loose-knit community of aspiring musicians, including Lou Adler, Bruce Johnston, Steve Douglas, and Sandy Nelson, the last of whom played drums on Spector's first record release, "To Know Him Is to Love Him". With three friends from high school, Marshall Leib, Sandy Nelson, and Annette Kleinbard, Spector formed a group, the Teddy Bears. During this period, record producer Stan Ross -- co-owner of Gold Star Studios in Hollywood -- began to tutor Spector in record production and exerted a major influence on Spector's production style. In 1958, the Teddy Bears recorded the Spector-penned "Don't You Worry My Little Pet", which helped them secure a deal with Era Records. At their next session, they recorded another song Spector had written--this one inspired by the epitaph on Spector's father's tombstone. Released on Era's subsidiary label, Dore Records, "To Know Him Is to Love Him" reached number one on Billboard Hot 100 singles chart on December 1, 1958, selling over a million copies by year's end. It was the seventh number-one single on the newly formed chart. Following the success of their debut, the group signed with Imperial Records. Their next single, "I Don't Need You Anymore", reached number 91. They released several more recordings, including an album, The Teddy Bears Sing!, but failed to reach the top 100 in US sales. The group disbanded in 1959. CANNOTANSWER

Question: Who were the community of musicians?
Answer: including Lou Adler, Bruce Johnston, Steve Douglas, and Sandy Nelson, the last of whom played drums
Phil Spector

Context: Having learned to play guitar, Spector performed "Rock Island Line" in a talent show at Fairfax High School, where he was a student. While at Fairfax, he joined a loose-knit community of aspiring musicians, including Lou Adler, Bruce Johnston, Steve Douglas, and Sandy Nelson, the last of whom played drums on Spector's first record release, "To Know Him Is to Love Him". With three friends from high school, Marshall Leib, Sandy Nelson, and Annette Kleinbard, Spector formed a group, the Teddy Bears. During this period, record producer Stan Ross -- co-owner of Gold Star Studios in Hollywood -- began to tutor Spector in record production and exerted a major influence on Spector's production style. In 1958, the Teddy Bears recorded the Spector-penned "Don't You Worry My Little Pet", which helped them secure a deal with Era Records. At their next session, they recorded another song Spector had written--this one inspired by the epitaph on Spector's father's tombstone. Released on Era's subsidiary label, Dore Records, "To Know Him Is to Love Him" reached number one on Billboard Hot 100 singles chart on December 1, 1958, selling over a million copies by year's end. It was the seventh number-one single on the newly formed chart. Following the success of their debut, the group signed with Imperial Records. Their next single, "I Don't Need You Anymore", reached number 91. They released several more recordings, including an album, The Teddy Bears Sing!, but failed to reach the top 100 in US sales. The group disbanded in 1959. CANNOTANSWER

Question: Did Spector perform at local venues?
Answer: performed "Rock Island Line" in a talent show at Fairfax High School,
Phil Spector

Context: Having learned to play guitar, Spector performed "Rock Island Line" in a talent show at Fairfax High School, where he was a student. While at Fairfax, he joined a loose-knit community of aspiring musicians, including Lou Adler, Bruce Johnston, Steve Douglas, and Sandy Nelson, the last of whom played drums on Spector's first record release, "To Know Him Is to Love Him". With three friends from high school, Marshall Leib, Sandy Nelson, and Annette Kleinbard, Spector formed a group, the Teddy Bears. During this period, record producer Stan Ross -- co-owner of Gold Star Studios in Hollywood -- began to tutor Spector in record production and exerted a major influence on Spector's production style. In 1958, the Teddy Bears recorded the Spector-penned "Don't You Worry My Little Pet", which helped them secure a deal with Era Records. At their next session, they recorded another song Spector had written--this one inspired by the epitaph on Spector's father's tombstone. Released on Era's subsidiary label, Dore Records, "To Know Him Is to Love Him" reached number one on Billboard Hot 100 singles chart on December 1, 1958, selling over a million copies by year's end. It was the seventh number-one single on the newly formed chart. Following the success of their debut, the group signed with Imperial Records. Their next single, "I Don't Need You Anymore", reached number 91. They released several more recordings, including an album, The Teddy Bears Sing!, but failed to reach the top 100 in US sales. The group disbanded in 1959. CANNOTANSWER

Question: What were Spector's other achievements besides performing at talent shows?
Answer: they recorded another song Spector had written--this one inspired by the epitaph on Spector's father's tombstone.
Sandra Day O'Connor

Context: In the 1990 and 1995 Missouri v. Jenkins rulings, O'Connor voted with the majority that district courts had no authority to require the state of Missouri to increase school funding in order to counteract racial inequality. In the 1991 Freeman v. Pitts case, O'Connor joined a concurring opinion in a plurality, agreeing that a school district that had formerly been under judicial review for racial segregation could be freed of this review, even though not all desegregation targets had been met. Law professor Herman Schwartz criticized these rulings, writing that in both cases "both the fact and effects of segregation were still present." In 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man, Warren McCleskey, convicted of killing a white police officer, despite statistical evidence that black defendants were more likely to receive the death penalty than others both in Georgia and in the U.S. as a whole. In 1996's Shaw v. Hunt and Shaw v. Reno, O'Connor joined a Rehnquist opinion, following an earlier precedent from an opinion she authored in 1993, in which the Court struck down an electoral districting plan designed to facilitate the election of two black representatives out of twelve from North Carolina, a state that had not had any black representative since Reconstruction, despite being approximately 20% black--the Court held that the districts were unacceptably gerrymandered and O'Connor called the odd shape of the district in question, North Carolina's 12th, "bizarre". Law Professor Herman Schwartz called O'Connor "the Court's leader in its assault on racially oriented affirmative action," although she joined with the Court in upholding the constitutionality of race-based admissions to universities. In late 2008, O'Connor said she believed racial affirmative action should continue to help heal the inequalities created by racial discrimination. She stressed this would not be a cure-all but rather a bandage and that society has to do much more to correct our racial imbalance. In 2003 Justice O'Connor authored a majority Supreme Court opinion (Grutter v. Bollinger) saying racial affirmative action wouldn't be constitutional permanently but long enough to correct past discrimination - an approximation limit of around 25 years, or until 2028. CANNOTANSWER

Question: What was the most famous case involving race?
Answer: In 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man, Warren McCleskey,
Sandra Day O'Connor

Context: In the 1990 and 1995 Missouri v. Jenkins rulings, O'Connor voted with the majority that district courts had no authority to require the state of Missouri to increase school funding in order to counteract racial inequality. In the 1991 Freeman v. Pitts case, O'Connor joined a concurring opinion in a plurality, agreeing that a school district that had formerly been under judicial review for racial segregation could be freed of this review, even though not all desegregation targets had been met. Law professor Herman Schwartz criticized these rulings, writing that in both cases "both the fact and effects of segregation were still present." In 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man, Warren McCleskey, convicted of killing a white police officer, despite statistical evidence that black defendants were more likely to receive the death penalty than others both in Georgia and in the U.S. as a whole. In 1996's Shaw v. Hunt and Shaw v. Reno, O'Connor joined a Rehnquist opinion, following an earlier precedent from an opinion she authored in 1993, in which the Court struck down an electoral districting plan designed to facilitate the election of two black representatives out of twelve from North Carolina, a state that had not had any black representative since Reconstruction, despite being approximately 20% black--the Court held that the districts were unacceptably gerrymandered and O'Connor called the odd shape of the district in question, North Carolina's 12th, "bizarre". Law Professor Herman Schwartz called O'Connor "the Court's leader in its assault on racially oriented affirmative action," although she joined with the Court in upholding the constitutionality of race-based admissions to universities. In late 2008, O'Connor said she believed racial affirmative action should continue to help heal the inequalities created by racial discrimination. She stressed this would not be a cure-all but rather a bandage and that society has to do much more to correct our racial imbalance. In 2003 Justice O'Connor authored a majority Supreme Court opinion (Grutter v. Bollinger) saying racial affirmative action wouldn't be constitutional permanently but long enough to correct past discrimination - an approximation limit of around 25 years, or until 2028. CANNOTANSWER

Question: Did O'Conner support increasing school funding?
Answer: O'Connor joined a concurring opinion in a plurality, agreeing
Sandra Day O'Connor

Context: In the 1990 and 1995 Missouri v. Jenkins rulings, O'Connor voted with the majority that district courts had no authority to require the state of Missouri to increase school funding in order to counteract racial inequality. In the 1991 Freeman v. Pitts case, O'Connor joined a concurring opinion in a plurality, agreeing that a school district that had formerly been under judicial review for racial segregation could be freed of this review, even though not all desegregation targets had been met. Law professor Herman Schwartz criticized these rulings, writing that in both cases "both the fact and effects of segregation were still present." In 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man, Warren McCleskey, convicted of killing a white police officer, despite statistical evidence that black defendants were more likely to receive the death penalty than others both in Georgia and in the U.S. as a whole. In 1996's Shaw v. Hunt and Shaw v. Reno, O'Connor joined a Rehnquist opinion, following an earlier precedent from an opinion she authored in 1993, in which the Court struck down an electoral districting plan designed to facilitate the election of two black representatives out of twelve from North Carolina, a state that had not had any black representative since Reconstruction, despite being approximately 20% black--the Court held that the districts were unacceptably gerrymandered and O'Connor called the odd shape of the district in question, North Carolina's 12th, "bizarre". Law Professor Herman Schwartz called O'Connor "the Court's leader in its assault on racially oriented affirmative action," although she joined with the Court in upholding the constitutionality of race-based admissions to universities. In late 2008, O'Connor said she believed racial affirmative action should continue to help heal the inequalities created by racial discrimination. She stressed this would not be a cure-all but rather a bandage and that society has to do much more to correct our racial imbalance. In 2003 Justice O'Connor authored a majority Supreme Court opinion (Grutter v. Bollinger) saying racial affirmative action wouldn't be constitutional permanently but long enough to correct past discrimination - an approximation limit of around 25 years, or until 2028. CANNOTANSWER

Question: What else is O'Conner known for other than her support for an increase in school funding?
Answer: 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man,
Sandra Day O'Connor

Context: In the 1990 and 1995 Missouri v. Jenkins rulings, O'Connor voted with the majority that district courts had no authority to require the state of Missouri to increase school funding in order to counteract racial inequality. In the 1991 Freeman v. Pitts case, O'Connor joined a concurring opinion in a plurality, agreeing that a school district that had formerly been under judicial review for racial segregation could be freed of this review, even though not all desegregation targets had been met. Law professor Herman Schwartz criticized these rulings, writing that in both cases "both the fact and effects of segregation were still present." In 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man, Warren McCleskey, convicted of killing a white police officer, despite statistical evidence that black defendants were more likely to receive the death penalty than others both in Georgia and in the U.S. as a whole. In 1996's Shaw v. Hunt and Shaw v. Reno, O'Connor joined a Rehnquist opinion, following an earlier precedent from an opinion she authored in 1993, in which the Court struck down an electoral districting plan designed to facilitate the election of two black representatives out of twelve from North Carolina, a state that had not had any black representative since Reconstruction, despite being approximately 20% black--the Court held that the districts were unacceptably gerrymandered and O'Connor called the odd shape of the district in question, North Carolina's 12th, "bizarre". Law Professor Herman Schwartz called O'Connor "the Court's leader in its assault on racially oriented affirmative action," although she joined with the Court in upholding the constitutionality of race-based admissions to universities. In late 2008, O'Connor said she believed racial affirmative action should continue to help heal the inequalities created by racial discrimination. She stressed this would not be a cure-all but rather a bandage and that society has to do much more to correct our racial imbalance. In 2003 Justice O'Connor authored a majority Supreme Court opinion (Grutter v. Bollinger) saying racial affirmative action wouldn't be constitutional permanently but long enough to correct past discrimination - an approximation limit of around 25 years, or until 2028. CANNOTANSWER

Question: Did O'Conner work on any other death penalty cases other than the McCleskey v. Kemp case?
Answer: CANNOTANSWER
Sandra Day O'Connor

Context: In the 1990 and 1995 Missouri v. Jenkins rulings, O'Connor voted with the majority that district courts had no authority to require the state of Missouri to increase school funding in order to counteract racial inequality. In the 1991 Freeman v. Pitts case, O'Connor joined a concurring opinion in a plurality, agreeing that a school district that had formerly been under judicial review for racial segregation could be freed of this review, even though not all desegregation targets had been met. Law professor Herman Schwartz criticized these rulings, writing that in both cases "both the fact and effects of segregation were still present." In 1987's McCleskey v. Kemp, O'Connor joined a 5-4 majority that voted to uphold the death penalty for an African American man, Warren McCleskey, convicted of killing a white police officer, despite statistical evidence that black defendants were more likely to receive the death penalty than others both in Georgia and in the U.S. as a whole. In 1996's Shaw v. Hunt and Shaw v. Reno, O'Connor joined a Rehnquist opinion, following an earlier precedent from an opinion she authored in 1993, in which the Court struck down an electoral districting plan designed to facilitate the election of two black representatives out of twelve from North Carolina, a state that had not had any black representative since Reconstruction, despite being approximately 20% black--the Court held that the districts were unacceptably gerrymandered and O'Connor called the odd shape of the district in question, North Carolina's 12th, "bizarre". Law Professor Herman Schwartz called O'Connor "the Court's leader in its assault on racially oriented affirmative action," although she joined with the Court in upholding the constitutionality of race-based admissions to universities. In late 2008, O'Connor said she believed racial affirmative action should continue to help heal the inequalities created by racial discrimination. She stressed this would not be a cure-all but rather a bandage and that society has to do much more to correct our racial imbalance. In 2003 Justice O'Connor authored a majority Supreme Court opinion (Grutter v. Bollinger) saying racial affirmative action wouldn't be constitutional permanently but long enough to correct past discrimination - an approximation limit of around 25 years, or until 2028. CANNOTANSWER

Question: What political party was O'Conner affiliated with?
Answer: CANNOTANSWER
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: What did Ayumi Hamasaki do in her childhood that's of importance?
Answer: At age seven, Hamasaki began modeling for local institutions,
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: Why did Ayumi Hamasaki's father leave?
Answer: CANNOTANSWER
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: What were some of Ayumi Hamasaki's early endeavors?
Answer: At age seven, Hamasaki began modeling for local institutions, such as banks, in order to supplement the family's income.
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: Where did Ayumi Hamasaki model?
Answer: She continued this career path by leaving her family at fourteen and moving to Tokyo as a model under SOS, a talent agency.
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: Was Ayumi Hamasaki successful?
Answer: Her modeling career did not last long; SOS eventually deemed her too short for a model
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: Why didn't Ayumi Hamasaki's model career last?
Answer: SOS eventually deemed her too short for a model and transferred her to Sun Music, a musicians' agency.
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 work with anyone of note at Sun Music?
Answer: 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.
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: Besides cohosting, what was Ayumi Hamasaki involved in?
Answer: Growing dissatisfied with her job, Hamasaki quit acting and moved in with her mother, who had recently moved to Tokyo.
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: What did Ayumi Hamasaki do after she moved in with her mother?
Answer: Her grades worsened as she refused to put her mind to her studies.
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: Why Ayumi Hamasaki drop out of high school her first year?
Answer: Her grades worsened as she refused to put her mind to her studies.