gaussalgo/Canard_Wiki-augmented huggingface dataset:
Mario Winans

Context: Winans recorded his second album Hurt No More in 2001, 2002, and 2003 in between working with other artists. The album is based on stories of love and betrayal. The first single "I Don't Wanna Know" was based on a sample of the Fugees' 1996 hit single "Ready or Not", which itself was based on a slowed-down sample of the instrumental track "Boadicea" by Enya from her 1987 self-titled album. Enya and her representatives became angry when Winans did not seek her approval for the sample, as he was unaware that the Fugees sample he had used had itself been a sample. So, a compromise was reached to credit the single as "Mario Winans featuring P. Diddy and Enya". The song features a rap by P. Diddy. The song was released as the single in early 2004 and became a worldwide hit, reaching number 1 in Germany and the United Kingdom and on the rhythmic top 40 radio chart in the United States; to number 2 on the Billboard Hot 100 and the US R&B/Hip-Hop singles chart; and to number 3 on both the Australian and Norwegian singles charts. It also reached the top ten on a composite European singles chart. Hurt No More was released on April 20, 2004 in the US and by early June 2004 had reached number 1 on the Billboard R&B/Hip-Hop Albums chart, number 2 on the Billboard 200, and number 3 on the UK Albums Chart. The album's second single, "Never Really Was", used a sample of the orchestrated beginning of Madonna's 1986 hit, "Papa Don't Preach", as its background music. However, the song failed to chart in America. A remix version was released as a single featuring rapper Lil Flip. The song "This Is the Thanks I Get" was stated to be the album's third and final single but no official release was set. The song went on to peak on the Billboard Bubbling Under R&B chart at number 12. CANNOTANSWER

Question: how long did "Hurt no more" stay number 1?
Answer: CANNOTANSWER
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: Was John Dee married?
Answer: Dee was married three times
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: did John Dee have children?
Answer: had eight children.
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: who was John Dee first wife?
Answer: He first married Katherine Constable
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: who was John Dee second wife?
Answer: His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576.
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: did John Dee and the second wife have children?
Answer: His second (also childless) marriage
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: did John Dee attend school?
Answer: CANNOTANSWER
John Dee

Context: Dee was married three times and had eight children. He first married Katherine Constable in 1565; she died in 1574 and their union resulted in no children. His second (also childless) marriage to an unknown woman lasted only a year until her death in 1576. From 1577 to 1601, Dee kept a sporadic diary (also referred to as his "almanac") from which most of what we know about his life during that time has been gleaned. In 1578 he married the 23-year-old Jane Fromond: Dee was fifty-one at the time. Jane had her own connections to the Elizabethan court: she was a lady in waiting to Elizabeth Clinton, Countess of Lincoln, a position she gave up when she married Dee. When in 1587, Kelley informed Dee of the angel's wish that they share wives, Jane Dee (nee Fromond) was the wife Dee shared with him. Although Dee complied with the angel's supposed request for a while, he was apparently distressed by the arrangement and it was one reason why the two men parted company not long thereafter. Some believe that Dee's son Theodore, born nine months later, could have been Kelley's son, not Dee's. Jane died in Manchester of the bubonic plague and was buried in the Manchester Cathedral burial grounds in March 1604. Michael, born in Prague, died on his father's birthday in 1594. Theodore, born in Trebon, died in Manchester in 1601. His sons Arthur Dee and Rowland survived him, as did his daughter Katherine "who was his companion to the end". No records exist for his youngest daughters Madinia, Frances and Margaret after 1604, so it is widely assumed they died in the same epidemic that took their mother. (Dee had by this time ceased keeping his diary). While Arthur was a student at the Westminster School, Dee wrote a letter to his headmaster that echoes the worries of boarding school parents in every century. Arthur was an apprentice in much of his father's alchemical and scientific work, and was in fact often his scryer until Kelley came along. Arthur went on to become an alchemist and hermetic author, whose works were published by Elias Ashmole. As regards Dee's physical appearance, the antiquary John Aubrey gives the following description: "He was tall and slender. He wore a gown like an artist's gown, with hanging sleeves, and a slit.... A very fair, clear sanguine complexion... a long beard as white as milk. A very handsome man." CANNOTANSWER

Question: who was John Dee third wife?
Answer: In 1578 he married the 23-year-old Jane Fromond:
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: When did the Byrds form?
Answer: In early 1964 they began to assemble a band that would become the Byrds.
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: Who were the original members of the Byrds?
Answer: Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club.
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: Besides Jim McGuinn, was anybody else an original member of the Byrds?
Answer: He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: What was Clark's role in the Byrds?
Answer: A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs.
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: What Byrds songs were written or co-written by Clark?
Answer: I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: Were there more songs Clark wrote for the Byrds besides "I'll Feel a Whole Lot Better" and "Here Without You"?
Answer: The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: Did Clark play any instruments in the Byrds?
Answer: it was Gene who would burst through the stage curtain banging on a tambourine,
Gene Clark

Context: Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds. Clark wrote or co-wrote many of the Byrds' best-known originals from their first three albums, including "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "You Won't Have to Cry", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player. Bassist Chris Hillman noted years later in an interview remembering Clark, "At one time, he was the power in the Byrds, not McGuinn, not Crosby--it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the 'gift' that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like 'Set You Free This Time,' 'I'll Feel A Whole Lot Better,' 'I'm Feelin' Higher,' 'Eight Miles High'? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves." A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart. CANNOTANSWER

Question: Did the Byrds hit big right away?
Answer: CANNOTANSWER
Georg Brandes

Context: Brandes now took his place as the leading northern European critic, applying to local conditions and habits of thought the methods of Taine. He became Docent or reader in Aesthetics at the University of Copenhagen, where his lectures were a great success and gathered huge audiences. His famous opening lecture on 3 November 1871, Hovedstromninger i det 19de Aarhundredes Litteratur (English: Main Currents in the Literature of the Nineteenth Century), signalled the beginning of his lifelong struggle to modernize Danish literature. After the professorship of aesthetics became vacant in 1872, it was taken as a matter of course that Brandes would fill it. But the young critic had offended many sensibilities by his ardent advocacy of modern ideas; he was seen as a Jew (which he did not consider himself to be), his convictions were Radical, he was suspected of being an atheist. The authorities refused to appoint him, but his fitness for the post was so obvious that the chair of Aesthetics remained vacant for years, since no one else daring to place himself in comparison with Brandes. In the middle of these polemics, Brandes began to issue volumes of the most ambitious of his works, Main Currents in the Literature of the Nineteenth Century, of which four volumes appeared between 1872 and 1875 (English translation, 1901-1905). The brilliant novelty of this criticism of the literature of major European countries at the beginning of the 19th century, and his description of the general revolt against the pseudo-classicism of the 18th century, at once attracted attention outside Denmark. The tumult which gathered round the person of the critic increased the success of the work, and the reputation of Brandes grew apace, especially in Germany and Russia. In 1877 Brandes left Copenhagen and settled in Berlin, taking a considerable part in the aesthetic life of that city. His political views, however, made Prussia uncomfortable with him, and he returned in 1883 to Copenhagen, where he found a whole new school of writers and thinkers eager to receive him as their leader. He headed the group "Det moderne Gjennembruds Maend" (The Men of the Modern Breakthrough), composed of J.P. Jacobsen, Holger Drachmann, Edvard Brandes, Erik Skram, Sophus Schandorph, and Norwegians Henrik Ibsen and Bjornstjerne Bjornson, but a conservative reaction against his "realistic" doctrines began around 1883, headed by Holger Drachmann. CANNOTANSWER

Question: when was Georg Brandes' breakthrough?
Answer: 3 November 1871,
Georg Brandes

Context: Brandes now took his place as the leading northern European critic, applying to local conditions and habits of thought the methods of Taine. He became Docent or reader in Aesthetics at the University of Copenhagen, where his lectures were a great success and gathered huge audiences. His famous opening lecture on 3 November 1871, Hovedstromninger i det 19de Aarhundredes Litteratur (English: Main Currents in the Literature of the Nineteenth Century), signalled the beginning of his lifelong struggle to modernize Danish literature. After the professorship of aesthetics became vacant in 1872, it was taken as a matter of course that Brandes would fill it. But the young critic had offended many sensibilities by his ardent advocacy of modern ideas; he was seen as a Jew (which he did not consider himself to be), his convictions were Radical, he was suspected of being an atheist. The authorities refused to appoint him, but his fitness for the post was so obvious that the chair of Aesthetics remained vacant for years, since no one else daring to place himself in comparison with Brandes. In the middle of these polemics, Brandes began to issue volumes of the most ambitious of his works, Main Currents in the Literature of the Nineteenth Century, of which four volumes appeared between 1872 and 1875 (English translation, 1901-1905). The brilliant novelty of this criticism of the literature of major European countries at the beginning of the 19th century, and his description of the general revolt against the pseudo-classicism of the 18th century, at once attracted attention outside Denmark. The tumult which gathered round the person of the critic increased the success of the work, and the reputation of Brandes grew apace, especially in Germany and Russia. In 1877 Brandes left Copenhagen and settled in Berlin, taking a considerable part in the aesthetic life of that city. His political views, however, made Prussia uncomfortable with him, and he returned in 1883 to Copenhagen, where he found a whole new school of writers and thinkers eager to receive him as their leader. He headed the group "Det moderne Gjennembruds Maend" (The Men of the Modern Breakthrough), composed of J.P. Jacobsen, Holger Drachmann, Edvard Brandes, Erik Skram, Sophus Schandorph, and Norwegians Henrik Ibsen and Bjornstjerne Bjornson, but a conservative reaction against his "realistic" doctrines began around 1883, headed by Holger Drachmann. CANNOTANSWER

Question: what was Georg Brandes' breakthrough lecture about?
Answer: signalled the beginning of his lifelong struggle to modernize Danish literature.
Georg Brandes

Context: Brandes now took his place as the leading northern European critic, applying to local conditions and habits of thought the methods of Taine. He became Docent or reader in Aesthetics at the University of Copenhagen, where his lectures were a great success and gathered huge audiences. His famous opening lecture on 3 November 1871, Hovedstromninger i det 19de Aarhundredes Litteratur (English: Main Currents in the Literature of the Nineteenth Century), signalled the beginning of his lifelong struggle to modernize Danish literature. After the professorship of aesthetics became vacant in 1872, it was taken as a matter of course that Brandes would fill it. But the young critic had offended many sensibilities by his ardent advocacy of modern ideas; he was seen as a Jew (which he did not consider himself to be), his convictions were Radical, he was suspected of being an atheist. The authorities refused to appoint him, but his fitness for the post was so obvious that the chair of Aesthetics remained vacant for years, since no one else daring to place himself in comparison with Brandes. In the middle of these polemics, Brandes began to issue volumes of the most ambitious of his works, Main Currents in the Literature of the Nineteenth Century, of which four volumes appeared between 1872 and 1875 (English translation, 1901-1905). The brilliant novelty of this criticism of the literature of major European countries at the beginning of the 19th century, and his description of the general revolt against the pseudo-classicism of the 18th century, at once attracted attention outside Denmark. The tumult which gathered round the person of the critic increased the success of the work, and the reputation of Brandes grew apace, especially in Germany and Russia. In 1877 Brandes left Copenhagen and settled in Berlin, taking a considerable part in the aesthetic life of that city. His political views, however, made Prussia uncomfortable with him, and he returned in 1883 to Copenhagen, where he found a whole new school of writers and thinkers eager to receive him as their leader. He headed the group "Det moderne Gjennembruds Maend" (The Men of the Modern Breakthrough), composed of J.P. Jacobsen, Holger Drachmann, Edvard Brandes, Erik Skram, Sophus Schandorph, and Norwegians Henrik Ibsen and Bjornstjerne Bjornson, but a conservative reaction against his "realistic" doctrines began around 1883, headed by Holger Drachmann. CANNOTANSWER

Question: Other than his lifelong struggle to modernize Danish literature, are there any other interesting aspects about this article?
Answer: it. But the young critic had offended many sensibilities by his ardent advocacy of modern ideas; he was seen as a Jew (