gaussalgo/Canard_Wiki-augmented huggingface dataset:
Tim Minchin

Context: Minchin describes his act as a "funny cabaret show" and sees himself primarily as a musician and songwriter as opposed to a comedian; he has said that his songs "just happen to be funny." His reasoning for combining the disciplines of music and comedy was revealed in one interview when he said: "I'm a good musician for a comedian and I'm a good comedian for a musician but if I had to do any of them in isolation I dunno." He draws on his background in theatre for his distinctive onstage appearance and persona. In his performances, he typically goes barefoot with wild hair and heavy eye makeup, which is juxtaposed with a crisp suit and tails, and a grand piano. According to Minchin, he likes going barefoot in his shows because it makes him feel more comfortable. He considers the eye makeup important because while he is playing the piano he is not able to use his arms and relies on his face for expressions and gestures; the eyeliner makes his features more distinguishable for the audience. He has said that much of his look and persona is about "treading that line between mocking yourself and wanting to be an iconic figure. Mocking the ridiculousness and completely unrealistic dream of being an iconic figure." The shows consist largely of Minchin's comedic songs and poetry, with subjects including social satire, inflatable dolls, sex fetishes, and his own failed rock star ambitions. In between songs, he performs short stand-up routines. Several of his songs deal with religion, a subject with which Minchin--an atheist and a fan of Richard Dawkins--says he is "a bit obsessed". He argues that, as one of the most powerful and influential forces in the world, religion should never be off-limits to satirists. He says that his favourite song to perform is "Peace Anthem for Palestine", which reflects his feelings about religious conflict. In October 2010, he was made a Distinguished Supporter of the British Humanist Association. His comedy also deals with taboos more broadly. A prime example of this is the song "Prejudice", which parodies the power awarded to something as simple as a word. CANNOTANSWER

Question: WHAT WAS THE NAME OF ONE OF Tim Minchin's  PERFORMANCES?
Answer: He says that his favourite song to perform is "Peace Anthem for Palestine",
Chris Christie

Context: In December 2010, Christie commuted the seven-year sentence of Brian Aitken, who had been convicted of transporting three guns within the state; as a result, Aitken was released from prison. Christie has said that each state has the right to determine firearms laws without federal interference. When announcing his candidacy in 2009 he said he supported aggressive enforcement of the state's current gun laws. In 2013, he chose not to defend a legal challenge to a New Jersey law requiring individuals to prove an urgent threat of violence before getting permits to carry handguns. In July 2014, Christie vetoed legislation that would have reduced the allowed legal size of ammunition magazines. Instead he re-wrote it, proposing a new standard for involuntary commitment of people who are not necessarily deemed dangerous "but whose mental illness, if untreated, could deteriorate to the point of harm" as well as other forms of involuntary mental health treatments. Christie had previously vetoed proposed legislation that would bar the state pension fund from investing in companies that manufacture or sell assault firearms for civilian use and a bill to prohibit the sale of .50-caliber rifles to civilians. In July 2015, Christie vetoed a bill passed the Assembly by a 74-0 (six abstentions) and the Senate by a 38-0 (2 abstentions) which would require anyone seeking to have their mental health records expunged to purchase a firearm to notify the State Police, their county prosecutor and their local police department when petitioning the court. In October 2015, the New Jersey Senate voted to override Christie's veto. In January 2018, during his final days as Governor of New Jersey, Christie signed legislation making bump stocks illegal in the state. CANNOTANSWER

Question: What is Chris Christie's view on firearms?
Answer: Christie has said that each state has the right to determine firearms laws without federal interference.
Chris Christie

Context: In December 2010, Christie commuted the seven-year sentence of Brian Aitken, who had been convicted of transporting three guns within the state; as a result, Aitken was released from prison. Christie has said that each state has the right to determine firearms laws without federal interference. When announcing his candidacy in 2009 he said he supported aggressive enforcement of the state's current gun laws. In 2013, he chose not to defend a legal challenge to a New Jersey law requiring individuals to prove an urgent threat of violence before getting permits to carry handguns. In July 2014, Christie vetoed legislation that would have reduced the allowed legal size of ammunition magazines. Instead he re-wrote it, proposing a new standard for involuntary commitment of people who are not necessarily deemed dangerous "but whose mental illness, if untreated, could deteriorate to the point of harm" as well as other forms of involuntary mental health treatments. Christie had previously vetoed proposed legislation that would bar the state pension fund from investing in companies that manufacture or sell assault firearms for civilian use and a bill to prohibit the sale of .50-caliber rifles to civilians. In July 2015, Christie vetoed a bill passed the Assembly by a 74-0 (six abstentions) and the Senate by a 38-0 (2 abstentions) which would require anyone seeking to have their mental health records expunged to purchase a firearm to notify the State Police, their county prosecutor and their local police department when petitioning the court. In October 2015, the New Jersey Senate voted to override Christie's veto. In January 2018, during his final days as Governor of New Jersey, Christie signed legislation making bump stocks illegal in the state. CANNOTANSWER

Question: Did Chris Christie release prisoners other than Brian Aitken?
Answer: CANNOTANSWER
Chris Christie

Context: In December 2010, Christie commuted the seven-year sentence of Brian Aitken, who had been convicted of transporting three guns within the state; as a result, Aitken was released from prison. Christie has said that each state has the right to determine firearms laws without federal interference. When announcing his candidacy in 2009 he said he supported aggressive enforcement of the state's current gun laws. In 2013, he chose not to defend a legal challenge to a New Jersey law requiring individuals to prove an urgent threat of violence before getting permits to carry handguns. In July 2014, Christie vetoed legislation that would have reduced the allowed legal size of ammunition magazines. Instead he re-wrote it, proposing a new standard for involuntary commitment of people who are not necessarily deemed dangerous "but whose mental illness, if untreated, could deteriorate to the point of harm" as well as other forms of involuntary mental health treatments. Christie had previously vetoed proposed legislation that would bar the state pension fund from investing in companies that manufacture or sell assault firearms for civilian use and a bill to prohibit the sale of .50-caliber rifles to civilians. In July 2015, Christie vetoed a bill passed the Assembly by a 74-0 (six abstentions) and the Senate by a 38-0 (2 abstentions) which would require anyone seeking to have their mental health records expunged to purchase a firearm to notify the State Police, their county prosecutor and their local police department when petitioning the court. In October 2015, the New Jersey Senate voted to override Christie's veto. In January 2018, during his final days as Governor of New Jersey, Christie signed legislation making bump stocks illegal in the state. CANNOTANSWER

Question: What happened after Aitken was released?
Answer: CANNOTANSWER
Chris Christie

Context: In December 2010, Christie commuted the seven-year sentence of Brian Aitken, who had been convicted of transporting three guns within the state; as a result, Aitken was released from prison. Christie has said that each state has the right to determine firearms laws without federal interference. When announcing his candidacy in 2009 he said he supported aggressive enforcement of the state's current gun laws. In 2013, he chose not to defend a legal challenge to a New Jersey law requiring individuals to prove an urgent threat of violence before getting permits to carry handguns. In July 2014, Christie vetoed legislation that would have reduced the allowed legal size of ammunition magazines. Instead he re-wrote it, proposing a new standard for involuntary commitment of people who are not necessarily deemed dangerous "but whose mental illness, if untreated, could deteriorate to the point of harm" as well as other forms of involuntary mental health treatments. Christie had previously vetoed proposed legislation that would bar the state pension fund from investing in companies that manufacture or sell assault firearms for civilian use and a bill to prohibit the sale of .50-caliber rifles to civilians. In July 2015, Christie vetoed a bill passed the Assembly by a 74-0 (six abstentions) and the Senate by a 38-0 (2 abstentions) which would require anyone seeking to have their mental health records expunged to purchase a firearm to notify the State Police, their county prosecutor and their local police department when petitioning the court. In October 2015, the New Jersey Senate voted to override Christie's veto. In January 2018, during his final days as Governor of New Jersey, Christie signed legislation making bump stocks illegal in the state. CANNOTANSWER

Question: Did Chris Christie support any gun laws?
Answer: When announcing his candidacy in 2009 he said he supported aggressive enforcement of the state's current gun laws.
Chris Christie

Context: In December 2010, Christie commuted the seven-year sentence of Brian Aitken, who had been convicted of transporting three guns within the state; as a result, Aitken was released from prison. Christie has said that each state has the right to determine firearms laws without federal interference. When announcing his candidacy in 2009 he said he supported aggressive enforcement of the state's current gun laws. In 2013, he chose not to defend a legal challenge to a New Jersey law requiring individuals to prove an urgent threat of violence before getting permits to carry handguns. In July 2014, Christie vetoed legislation that would have reduced the allowed legal size of ammunition magazines. Instead he re-wrote it, proposing a new standard for involuntary commitment of people who are not necessarily deemed dangerous "but whose mental illness, if untreated, could deteriorate to the point of harm" as well as other forms of involuntary mental health treatments. Christie had previously vetoed proposed legislation that would bar the state pension fund from investing in companies that manufacture or sell assault firearms for civilian use and a bill to prohibit the sale of .50-caliber rifles to civilians. In July 2015, Christie vetoed a bill passed the Assembly by a 74-0 (six abstentions) and the Senate by a 38-0 (2 abstentions) which would require anyone seeking to have their mental health records expunged to purchase a firearm to notify the State Police, their county prosecutor and their local police department when petitioning the court. In October 2015, the New Jersey Senate voted to override Christie's veto. In January 2018, during his final days as Governor of New Jersey, Christie signed legislation making bump stocks illegal in the state. CANNOTANSWER

Question: Why did Chris Christie veto the legislation to reduce the allowed legal size of ammunition magazines?
Answer: bar the state pension fund from investing in companies that manufacture or sell assault firearms for civilian use
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: What is Roberto Mangabeira Unger,'s programmatic thought?
Answer: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought.
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: Can you explain the mechanism of thinking under Roberto Mangabeira Unger,'s programmatic thought?
Answer: In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions:
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: What are the three false assumptions according to Roberto Mangabeira Unger?
Answer: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism".
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: Aside from typological fallacy, what is another false assumption according to Roberto Mangabeira Unger?
Answer: Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together.
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: Aside from typological fallacy and indivisibility fallacy, what is the last false assumption according to Roberto Mangabeira Unger?
Answer: Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems.
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: What is Typological Fallacy?
Answer: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism".
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: What is Indivisibility Fallacy?
Answer: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal.
Roberto Mangabeira Unger

Context: Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological Fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility Fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism Fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". CANNOTANSWER

Question: What is Determinism Fallacy?
Answer: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems.
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: When was the band "Gentle Giant" originally formed?
Answer: Gentle Giant was formed in 1970
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: What instruments did the Shulman brothers from Gentle Giant play?
Answer: Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith,
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: Where are the Shulman brothers from?
Answer: CANNOTANSWER
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: What was the Shulman brother's main study?
Answer: a degree in composition, and had played with the band
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: Are there any other interesting aspects about this article in addition to the origins of the Gentle Giant band?
Answer: The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals;
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: Did all the Gentle Giant members grow up in the same place?
Answer: CANNOTANSWER
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: What gave the Gentle Giant members the idea for the name?
Answer: Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members.
Gentle Giant

Context: Gentle Giant was formed in 1970 when the Shulman brothers teamed up with two other multi-instrumentalists, Gary Green (guitar, mandolin, recorder etc.) and Kerry Minnear (keyboards, vibraphone, cello etc.), plus drummer Martin Smith, who had previously drummed for Simon Dupree and the Big Sound. The classically trained Minnear had recently graduated from the Royal College of Music with a degree in composition, and had played with the band Rust. Green was essentially a blues player and had never worked with a band above the semi-professional level, but adapted readily to the demanding music of the new band. The Shulman brothers, meanwhile, settled into typically multi-instrumental roles of their own: Derek on saxophone and recorder; Ray on bass and violin; Phil on saxophone, trumpet, and clarinet. The new band also featured three lead vocalists. Derek Shulman sang in a tough rhythm-and-blues style and generally handled the more rock-oriented vocals; Phil Shulman handled the more folk-or-jazz-influenced songs; and Kerry Minnear (who had a particularly delicate voice) sang the lighter folk and chamber-classical lead vocals. Minnear did not sing lead vocals at live concerts, because of his inability to support and project his voice at a level suitable for live amplification (Derek and Phil Shulman handled Minnear's lead vocal parts when the band played live). It has been reported that Elton John unsuccessfully auditioned for lead vocalist with the newly formed group. According to a booklet that was included in their first album, the band's name was a reference to a fictional character, a "gentle giant" that happens upon a band of musicians and is enthralled with their music. The character is reminiscent of those from the Renaissance tales of Francois Rabelais. From the start, Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members. One Gentle Giant album would list a total of forty-six instruments in the musician credits -- all of which had been played by group members -- and five of the six members sang, enabling the band to write and perform detailed vocal harmony and counterpoint. The band's approach to songwriting was equally diverse, blending a wide variety of ideas and influences whether they were considered commercial or otherwise. CANNOTANSWER

Question: Did Gentle Giant have a lot of trouble getting started?
Answer: Gentle Giant was a particularly flexible band because of the exceptionally broad musical skills of its members.