gaussalgo/Canard_Wiki-augmented huggingface dataset:
Christopher Hitchens

Context: Hitchens wrote book-length biographical essays about Thomas Jefferson (Thomas Jefferson: Author of America), Thomas Paine (Thomas Paine's "Rights of Man": A Biography) and George Orwell (Why Orwell Matters). He became known for his critiques of public contemporary figures including Mother Teresa, Bill Clinton and Henry Kissinger-- the subjects of three separate full length texts, The Missionary Position: Mother Teresa in Theory and Practice, No One Left to Lie To: The Triangulations of William Jefferson Clinton, and The Trial of Henry Kissinger. In 2007, while promoting his book God Is Not Great: How Religion Poisons Everything, Hitchens described the Christian evangelist Billy Graham as "a self-conscious fraud" and "a disgustingly evil man". Hitchens claimed that the evangelist, who had recently been hospitalized for intestinal bleeding, made a living by "going around spouting lies to young people. What a horrible career. I gather it's soon to be over. I certainly hope so." In response to the comments, writers Nancy Gibbs and Michael Duffy published an article in Time Magazine in which, among other things, they refuted Hitchens's suggestion that Graham went into ministry to make money. They argued that during his career Graham 'turn[ed] down million-dollar television and Hollywood offers'. They also pointed out that having established the Billy Graham Evangelistic Association in 1950, Graham drew a straight salary, comparable to that of a senior minister, irrespective of the money raised by his meetings. Other of Hitchens's critiques took the form of opinion pieces or lengthy lectures, including his critiques of Jerry Falwell, George Galloway, Slobodan Milosevic, Mel Gibson, the 14th Dalai Lama, Michael Moore, Daniel Pipes, Ronald Reagan, Jesse Helms, and Cindy Sheehan. CANNOTANSWER

Question: Aside from his critiques what other inspiring information can you tell me about Christopher Hitchens?
Answer: Hitchens wrote book-length biographical essays about Thomas Jefferson (Thomas Jefferson: Author of America), Thomas Paine (Thomas Paine's "Rights of Man": A Biography) and George Orwell (Why Orwell Matters).
Christopher Hitchens

Context: Hitchens wrote book-length biographical essays about Thomas Jefferson (Thomas Jefferson: Author of America), Thomas Paine (Thomas Paine's "Rights of Man": A Biography) and George Orwell (Why Orwell Matters). He became known for his critiques of public contemporary figures including Mother Teresa, Bill Clinton and Henry Kissinger-- the subjects of three separate full length texts, The Missionary Position: Mother Teresa in Theory and Practice, No One Left to Lie To: The Triangulations of William Jefferson Clinton, and The Trial of Henry Kissinger. In 2007, while promoting his book God Is Not Great: How Religion Poisons Everything, Hitchens described the Christian evangelist Billy Graham as "a self-conscious fraud" and "a disgustingly evil man". Hitchens claimed that the evangelist, who had recently been hospitalized for intestinal bleeding, made a living by "going around spouting lies to young people. What a horrible career. I gather it's soon to be over. I certainly hope so." In response to the comments, writers Nancy Gibbs and Michael Duffy published an article in Time Magazine in which, among other things, they refuted Hitchens's suggestion that Graham went into ministry to make money. They argued that during his career Graham 'turn[ed] down million-dollar television and Hollywood offers'. They also pointed out that having established the Billy Graham Evangelistic Association in 1950, Graham drew a straight salary, comparable to that of a senior minister, irrespective of the money raised by his meetings. Other of Hitchens's critiques took the form of opinion pieces or lengthy lectures, including his critiques of Jerry Falwell, George Galloway, Slobodan Milosevic, Mel Gibson, the 14th Dalai Lama, Michael Moore, Daniel Pipes, Ronald Reagan, Jesse Helms, and Cindy Sheehan. CANNOTANSWER

Question: Aside from his essays about Thomas Jefferson, Thomas Paine, and George Orwell did Christopher Hitchens write any other essays?
Answer: CANNOTANSWER
Liz Phair

Context: In 2003, her self-titled fourth album was released on her new label, Capitol Records. Phair had not released an album in several years; she had been working on her record, as well as making guest appearances on other tracks (she lent backing vocals to the Sheryl Crow hit "Soak Up the Sun"). Initially, Phair worked on several album tracks with songwriter Michael Penn as the producer. When she submitted the finished Penn-produced album to Capitol, the label gave it a lukewarm reception and was unwilling to release it as submitted. Having already exhausted her recording budget, label president Andy Slater offered Phair more money to record only if Phair agreed to work with the production team known as The Matrix (best known as songwriters for Britney Spears and Avril Lavigne) to come up with some singles for the album. Phair's collaboration with the Matrix resulted in only four songs, but much of the media attention focused solely on the Matrix-produced tracks, which were a departure from her earlier work. The album received many negative reviews, especially from the independent music press, who accused Phair of "selling out" by making the record very pop-oriented. Liz Phair provoked a strong backlash from critics and disappointed fans of her earlier work. Many decried her for "selling out", and she became a "pinata for critics." The New York Times' Meghan O'Rourke's review, titled "Liz Phair's Exile in Avril-ville", said that Phair "gushes like a teenager" and had "committed an embarrassing form of career suicide." Somebody's Miracle, Phair's fifth album (and final album with Capitol Records), was released on October 4, 2005. The album returned to a more traditional rock sound, mixing the mood of Phair's earlier work with a more mellow sound. The album received mixed reviews and was not a chart success. CANNOTANSWER

Question: what happened in 2003
Answer: In 2003, her self-titled fourth album was released on her new label, Capitol Records.
Liz Phair

Context: In 2003, her self-titled fourth album was released on her new label, Capitol Records. Phair had not released an album in several years; she had been working on her record, as well as making guest appearances on other tracks (she lent backing vocals to the Sheryl Crow hit "Soak Up the Sun"). Initially, Phair worked on several album tracks with songwriter Michael Penn as the producer. When she submitted the finished Penn-produced album to Capitol, the label gave it a lukewarm reception and was unwilling to release it as submitted. Having already exhausted her recording budget, label president Andy Slater offered Phair more money to record only if Phair agreed to work with the production team known as The Matrix (best known as songwriters for Britney Spears and Avril Lavigne) to come up with some singles for the album. Phair's collaboration with the Matrix resulted in only four songs, but much of the media attention focused solely on the Matrix-produced tracks, which were a departure from her earlier work. The album received many negative reviews, especially from the independent music press, who accused Phair of "selling out" by making the record very pop-oriented. Liz Phair provoked a strong backlash from critics and disappointed fans of her earlier work. Many decried her for "selling out", and she became a "pinata for critics." The New York Times' Meghan O'Rourke's review, titled "Liz Phair's Exile in Avril-ville", said that Phair "gushes like a teenager" and had "committed an embarrassing form of career suicide." Somebody's Miracle, Phair's fifth album (and final album with Capitol Records), was released on October 4, 2005. The album returned to a more traditional rock sound, mixing the mood of Phair's earlier work with a more mellow sound. The album received mixed reviews and was not a chart success. CANNOTANSWER

Question: was Liz Phair a success
Answer: CANNOTANSWER
Liz Phair

Context: In 2003, her self-titled fourth album was released on her new label, Capitol Records. Phair had not released an album in several years; she had been working on her record, as well as making guest appearances on other tracks (she lent backing vocals to the Sheryl Crow hit "Soak Up the Sun"). Initially, Phair worked on several album tracks with songwriter Michael Penn as the producer. When she submitted the finished Penn-produced album to Capitol, the label gave it a lukewarm reception and was unwilling to release it as submitted. Having already exhausted her recording budget, label president Andy Slater offered Phair more money to record only if Phair agreed to work with the production team known as The Matrix (best known as songwriters for Britney Spears and Avril Lavigne) to come up with some singles for the album. Phair's collaboration with the Matrix resulted in only four songs, but much of the media attention focused solely on the Matrix-produced tracks, which were a departure from her earlier work. The album received many negative reviews, especially from the independent music press, who accused Phair of "selling out" by making the record very pop-oriented. Liz Phair provoked a strong backlash from critics and disappointed fans of her earlier work. Many decried her for "selling out", and she became a "pinata for critics." The New York Times' Meghan O'Rourke's review, titled "Liz Phair's Exile in Avril-ville", said that Phair "gushes like a teenager" and had "committed an embarrassing form of career suicide." Somebody's Miracle, Phair's fifth album (and final album with Capitol Records), was released on October 4, 2005. The album returned to a more traditional rock sound, mixing the mood of Phair's earlier work with a more mellow sound. The album received mixed reviews and was not a chart success. CANNOTANSWER

Question: which producer did Phair work with
Answer: Phair worked on several album tracks with songwriter Michael Penn as the producer.
Liz Phair

Context: In 2003, her self-titled fourth album was released on her new label, Capitol Records. Phair had not released an album in several years; she had been working on her record, as well as making guest appearances on other tracks (she lent backing vocals to the Sheryl Crow hit "Soak Up the Sun"). Initially, Phair worked on several album tracks with songwriter Michael Penn as the producer. When she submitted the finished Penn-produced album to Capitol, the label gave it a lukewarm reception and was unwilling to release it as submitted. Having already exhausted her recording budget, label president Andy Slater offered Phair more money to record only if Phair agreed to work with the production team known as The Matrix (best known as songwriters for Britney Spears and Avril Lavigne) to come up with some singles for the album. Phair's collaboration with the Matrix resulted in only four songs, but much of the media attention focused solely on the Matrix-produced tracks, which were a departure from her earlier work. The album received many negative reviews, especially from the independent music press, who accused Phair of "selling out" by making the record very pop-oriented. Liz Phair provoked a strong backlash from critics and disappointed fans of her earlier work. Many decried her for "selling out", and she became a "pinata for critics." The New York Times' Meghan O'Rourke's review, titled "Liz Phair's Exile in Avril-ville", said that Phair "gushes like a teenager" and had "committed an embarrassing form of career suicide." Somebody's Miracle, Phair's fifth album (and final album with Capitol Records), was released on October 4, 2005. The album returned to a more traditional rock sound, mixing the mood of Phair's earlier work with a more mellow sound. The album received mixed reviews and was not a chart success. CANNOTANSWER

Question: Besides Liz Phair what other album did Phair release
Answer: Somebody's Miracle, Phair's fifth album
Liz Phair

Context: In 2003, her self-titled fourth album was released on her new label, Capitol Records. Phair had not released an album in several years; she had been working on her record, as well as making guest appearances on other tracks (she lent backing vocals to the Sheryl Crow hit "Soak Up the Sun"). Initially, Phair worked on several album tracks with songwriter Michael Penn as the producer. When she submitted the finished Penn-produced album to Capitol, the label gave it a lukewarm reception and was unwilling to release it as submitted. Having already exhausted her recording budget, label president Andy Slater offered Phair more money to record only if Phair agreed to work with the production team known as The Matrix (best known as songwriters for Britney Spears and Avril Lavigne) to come up with some singles for the album. Phair's collaboration with the Matrix resulted in only four songs, but much of the media attention focused solely on the Matrix-produced tracks, which were a departure from her earlier work. The album received many negative reviews, especially from the independent music press, who accused Phair of "selling out" by making the record very pop-oriented. Liz Phair provoked a strong backlash from critics and disappointed fans of her earlier work. Many decried her for "selling out", and she became a "pinata for critics." The New York Times' Meghan O'Rourke's review, titled "Liz Phair's Exile in Avril-ville", said that Phair "gushes like a teenager" and had "committed an embarrassing form of career suicide." Somebody's Miracle, Phair's fifth album (and final album with Capitol Records), was released on October 4, 2005. The album returned to a more traditional rock sound, mixing the mood of Phair's earlier work with a more mellow sound. The album received mixed reviews and was not a chart success. CANNOTANSWER

Question: did Somebody's Miracle have any review
Answer: The album received mixed reviews and was not a chart success.
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: When did Louis Armstrong move to Chicago?
Answer: In 1922, Armstrong joined the exodus to Chicago,
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: What was Louis Armstrong's first gig in Chicago?
Answer: invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: What did the critics in the early 1920s say of Armstrong's playing?
Answer: CANNOTANSWER
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: What songs was Louis Armstrong famous for?
Answer: CANNOTANSWER
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: Besides the description of Louis Armstrong's work in one of the most influential jazz bands in Chicago in the early 1920s, are there any other interesting aspects about this article?
Answer: Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first).
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: When did Louis Armstrong start his own band?
Answer: Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks,
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: What was Louis Armstrong's musical style?
Answer: Lil had her husband play classical music in church concerts to broaden his skill
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: Besides the description of his work in Chicago, are there any other interesting things about Louis Armstrong mentioned in  this article?
Answer: Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first).
Louis Armstrong

Context: Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music and started to be featured in extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the city was teeming with jobs available for black people, who were making good wages in factories and had plenty to spend on entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental "cutting contests" by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band. Armstrong enjoyed working with Oliver, but Louis' second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil's influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. CANNOTANSWER

Question: When did Louis Armstrong leave Chicago?
Answer: CANNOTANSWER
Queensrÿche

Context: In 1988, Queensryche released Operation: Mindcrime, a narrative concept album that proved a massive critical and commercial success. The album's story revolved around a junkie named Nikki, who is brainwashed into performing assassinations for an underground movement. Nikki is torn over his misplaced loyalty to the cause and his love for Mary, a reformed hooker-turned-nun (vocals by Pamela Moore), who gets in the way. The band's progressive metal style was fully developed on this album. The band toured through much of 1988 and 1989 with several bands, including Def Leppard, Guns N' Roses and Metallica. The album gained critical acclaim and achieved gold status. The release of Empire (1990) brought Queensryche to the height of their commercial popularity. It peaked at No. 7 and sold more than three million copies in the United States, more than their previous four releases combined (it was also certified silver in the UK). The power ballad "Silent Lucidity", which featured an orchestra, became the band's first Top 10 single. The arrangements on Empire were more straightforward than the band's previous efforts. The subsequent "Building Empires" tour was the first full-fledged tour to feature Queensryche as a headlining act (the band had previously headlined a tour in Japan in support of Operation: Mindcrime, and had headlined a handful of club and theater shows in the U.S. between 1984 and 1988, and the UK in 1988). The group used its headlining status to perform Operation: Mindcrime in its entirety, as well as songs from Empire. The tour lasted 18 months, longer than any tour the band had undertaken before or has since. The tour also added a black page to the band's history, when during a show in a sports hall in Ichtegem, Belgium on November 20, 1990, a scuffle in the audience resulted in an American fan getting fatally stabbed in the chest. Tour manager Howard Ungerleider immediately stopped the show as the band was only playing the seventh song on the set list, "Roads to Madness". A live album, recorded May 10-12, 1991, was released later that year as Operation: Livecrime. The tour also included an MTV Unplugged appearance at Warner Hollywood Studios in Los Angeles on April 27, 1992. CANNOTANSWER

Question: What is mindcrime?
Answer: In 1988, Queensryche released Operation: Mindcrime, a narrative concept album that proved a massive critical and commercial success.
Queensrÿche

Context: In 1988, Queensryche released Operation: Mindcrime, a narrative concept album that proved a massive critical and commercial success. The album's story revolved around a junkie named Nikki, who is brainwashed into performing assassinations for an underground movement. Nikki is torn over his misplaced loyalty to the cause and his love for Mary, a reformed hooker-turned-nun (vocals by Pamela Moore), who gets in the way. The band's progressive metal style was fully developed on this album. The band toured through much of 1988 and 1989 with several bands, including Def Leppard, Guns N' Roses and Metallica. The album gained critical acclaim and achieved gold status. The release of Empire (1990) brought Queensryche to the height of their commercial popularity. It peaked at No. 7 and sold more than three million copies in the United States, more than their previous four releases combined (it was also certified silver in the UK). The power ballad "Silent Lucidity", which featured an orchestra, became the band's first Top 10 single. The arrangements on Empire were more straightforward than the band's previous efforts. The subsequent "Building Empires" tour was the first full-fledged tour to feature Queensryche as a headlining act (the band had previously headlined a tour in Japan in support of Operation: Mindcrime, and had headlined a handful of club and theater shows in the U.S. between 1984 and 1988, and the UK in 1988). The group used its headlining status to perform Operation: Mindcrime in its entirety, as well as songs from Empire. The tour lasted 18 months, longer than any tour the band had undertaken before or has since. The tour also added a black page to the band's history, when during a show in a sports hall in Ichtegem, Belgium on November 20, 1990, a scuffle in the audience resulted in an American fan getting fatally stabbed in the chest. Tour manager Howard Ungerleider immediately stopped the show as the band was only playing the seventh song on the set list, "Roads to Madness". A live album, recorded May 10-12, 1991, was released later that year as Operation: Livecrime. The tour also included an MTV Unplugged appearance at Warner Hollywood Studios in Los Angeles on April 27, 1992. CANNOTANSWER

Question: Was Mindcrime by Queensryche a successful album?
Answer: The album gained critical acclaim and achieved gold status.
Queensrÿche

Context: In 1988, Queensryche released Operation: Mindcrime, a narrative concept album that proved a massive critical and commercial success. The album's story revolved around a junkie named Nikki, who is brainwashed into performing assassinations for an underground movement. Nikki is torn over his misplaced loyalty to the cause and his love for Mary, a reformed hooker-turned-nun (vocals by Pamela Moore), who gets in the way. The band's progressive metal style was fully developed on this album. The band toured through much of 1988 and 1989 with several bands, including Def Leppard, Guns N' Roses and Metallica. The album gained critical acclaim and achieved gold status. The release of Empire (1990) brought Queensryche to the height of their commercial popularity. It peaked at No. 7 and sold more than three million copies in the United States, more than their previous four releases combined (it was also certified silver in the UK). The power ballad "Silent Lucidity", which featured an orchestra, became the band's first Top 10 single. The arrangements on Empire were more straightforward than the band's previous efforts. The subsequent "Building Empires" tour was the first full-fledged tour to feature Queensryche as a headlining act (the band had previously headlined a tour in Japan in support of Operation: Mindcrime, and had headlined a handful of club and theater shows in the U.S. between 1984 and 1988, and the UK in 1988). The group used its headlining status to perform Operation: Mindcrime in its entirety, as well as songs from Empire. The tour lasted 18 months, longer than any tour the band had undertaken before or has since. The tour also added a black page to the band's history, when during a show in a sports hall in Ichtegem, Belgium on November 20, 1990, a scuffle in the audience resulted in an American fan getting fatally stabbed in the chest. Tour manager Howard Ungerleider immediately stopped the show as the band was only playing the seventh song on the set list, "Roads to Madness". A live album, recorded May 10-12, 1991, was released later that year as Operation: Livecrime. The tour also included an MTV Unplugged appearance at Warner Hollywood Studios in Los Angeles on April 27, 1992. CANNOTANSWER

Question: Can you tell me a little about the Queensryche's Empire and mainstream success?
Answer: The release of Empire (1990) brought Queensryche to the height of their commercial popularity.
Queensrÿche

Context: In 1988, Queensryche released Operation: Mindcrime, a narrative concept album that proved a massive critical and commercial success. The album's story revolved around a junkie named Nikki, who is brainwashed into performing assassinations for an underground movement. Nikki is torn over his misplaced loyalty to the cause and his love for Mary, a reformed hooker-turned-nun (vocals by Pamela Moore), who gets in the way. The band's progressive metal style was fully developed on this album. The band toured through much of 1988 and 1989 with several bands, including Def Leppard, Guns N' Roses and Metallica. The album gained critical acclaim and achieved gold status. The release of Empire (1990) brought Queensryche to the height of their commercial popularity. It peaked at No. 7 and sold more than three million copies in the United States, more than their previous four releases combined (it was also certified silver in the UK). The power ballad "Silent Lucidity", which featured an orchestra, became the band's first Top 10 single. The arrangements on Empire were more straightforward than the band's previous efforts. The subsequent "Building Empires" tour was the first full-fledged tour to feature Queensryche as a headlining act (the band had previously headlined a tour in Japan in support of Operation: Mindcrime, and had headlined a handful of club and theater shows in the U.S. between 1984 and 1988, and the UK in 1988). The group used its headlining status to perform Operation: Mindcrime in its entirety, as well as songs from Empire. The tour lasted 18 months, longer than any tour the band had undertaken before or has since. The tour also added a black page to the band's history, when during a show in a sports hall in Ichtegem, Belgium on November 20, 1990, a scuffle in the audience resulted in an American fan getting fatally stabbed in the chest. Tour manager Howard Ungerleider immediately stopped the show as the band was only playing the seventh song on the set list, "Roads to Madness". A live album, recorded May 10-12, 1991, was released later that year as Operation: Livecrime. The tour also included an MTV Unplugged appearance at Warner Hollywood Studios in Los Angeles on April 27, 1992. CANNOTANSWER

Question: How long did Queensryche's Empire stay on the charts?
Answer: CANNOTANSWER