gaussalgo/Canard_Wiki-augmented huggingface dataset:
The Wiggles

Context: Although Moran's transition as The Wiggles' lead singer was "smooth" for the young children of their audience, it was more difficult for their parents. Moran said that "most children understood". Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page. Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound. Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform. The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year. Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia. At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up "Wiggles World" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009. In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows. In early July 2011, founding member Fatt developed arrhythmia and underwent "urgent but routine" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out. He missed the group's US tour as a result, after not missing a show in 20 years. Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a "physically grueling" birthday-themed tour of 90 shows throughout Australia, which Paul Field called "one of the biggest of their careers". Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia. In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent. Royalties partially offset the difference between their 2010 and 2011 revenues. Their managing director Mike Conway called 2011 their toughest year financially. For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations. Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform. CANNOTANSWER

Question: How long did Moran stay with the Wiggles?
Answer: CANNOTANSWER
The Wiggles

Context: Although Moran's transition as The Wiggles' lead singer was "smooth" for the young children of their audience, it was more difficult for their parents. Moran said that "most children understood". Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page. Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound. Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform. The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year. Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia. At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up "Wiggles World" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009. In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows. In early July 2011, founding member Fatt developed arrhythmia and underwent "urgent but routine" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out. He missed the group's US tour as a result, after not missing a show in 20 years. Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a "physically grueling" birthday-themed tour of 90 shows throughout Australia, which Paul Field called "one of the biggest of their careers". Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia. In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent. Royalties partially offset the difference between their 2010 and 2011 revenues. Their managing director Mike Conway called 2011 their toughest year financially. For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations. Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform. CANNOTANSWER

Question: Why did Moran leave the Wiggles?
Answer: CANNOTANSWER
The Wiggles

Context: Although Moran's transition as The Wiggles' lead singer was "smooth" for the young children of their audience, it was more difficult for their parents. Moran said that "most children understood". Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page. Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound. Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform. The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year. Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia. At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up "Wiggles World" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009. In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows. In early July 2011, founding member Fatt developed arrhythmia and underwent "urgent but routine" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out. He missed the group's US tour as a result, after not missing a show in 20 years. Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a "physically grueling" birthday-themed tour of 90 shows throughout Australia, which Paul Field called "one of the biggest of their careers". Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia. In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent. Royalties partially offset the difference between their 2010 and 2011 revenues. Their managing director Mike Conway called 2011 their toughest year financially. For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations. Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform. CANNOTANSWER

Question: Other than Moran's departure, are there any other interesting aspects about this article?
Answer: The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive.
The Wiggles

Context: Although Moran's transition as The Wiggles' lead singer was "smooth" for the young children of their audience, it was more difficult for their parents. Moran said that "most children understood". Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page. Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound. Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform. The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year. Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia. At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up "Wiggles World" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009. In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows. In early July 2011, founding member Fatt developed arrhythmia and underwent "urgent but routine" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out. He missed the group's US tour as a result, after not missing a show in 20 years. Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a "physically grueling" birthday-themed tour of 90 shows throughout Australia, which Paul Field called "one of the biggest of their careers". Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia. In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent. Royalties partially offset the difference between their 2010 and 2011 revenues. Their managing director Mike Conway called 2011 their toughest year financially. For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations. Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform. CANNOTANSWER

Question: Did the drop in revenues recorded in 2011 end the band?
Answer: Their managing director Mike Conway called 2011 their toughest year financially.
The Wiggles

Context: Although Moran's transition as The Wiggles' lead singer was "smooth" for the young children of their audience, it was more difficult for their parents. Moran said that "most children understood". Field reported that by the group's 20th anniversary in 2011, due to the ever-changing nature of their audience, most of their young fans were unfamiliar with Page. Cook stated that Moran's transition was challenging for the group because since he replaced their lead singer, it changed their sound. Fatt characterised Moran's singing style as more operatic, so they chose different keys to sing and perform. The Wiggles never publicly disclosed how much Moran was paid, but it was reported that he earned $200,000 per year. Moran was featured in his first DVD and CD as a member of the group in early 2008, and a sixth season of The Wiggles' television series featuring Moran was filmed and began airing in Australia. At the end of 2007, The Wiggles donated their complete back catalogue of 27 master tapes to Australia's National Film and Sound Archive. Their business ventures during these years included opening up "Wiggles World" sections in theme parks in North America and the Arab World, internet offerings, the creation of new television shows, and a five-year-long partnership with the digital cable channel Sprout in 2009. In December 2010, Cinemalive beamed a Wiggles concert live from Acer Arena into movie theatres all over Australia, for children and their families unable to attend their shows. In early July 2011, founding member Fatt developed arrhythmia and underwent "urgent but routine" heart surgery, when he was fitted with a pacemaker after feeling unwell for several weeks and blacking out. He missed the group's US tour as a result, after not missing a show in 20 years. Also in mid-2011, The Wiggles celebrated their 20th anniversary with circus-themed shows and performances throughout Australia and the outback in a circus tent, as well as a "physically grueling" birthday-themed tour of 90 shows throughout Australia, which Paul Field called "one of the biggest of their careers". Sydney's Powerhouse Museum commemorated the group's anniversary with an exhibit that displayed Wiggles memorabilia. In 2011, the worldwide financial crisis hit the group, and they recorded their first drop in revenues in 10 years, at approximately $2.5 million, a total decrease of 28 percent. Royalties partially offset the difference between their 2010 and 2011 revenues. Their managing director Mike Conway called 2011 their toughest year financially. For the first time, they had negative equity, with more liabilities than assets, and the owners had to provide the funds for them to continue operations. Conway stated that their losses were due to less touring time in the US, difficulties in placing their DVDs in Walmart, and their required investment in a new digital platform. CANNOTANSWER

Question: Why were the Wiggles not allowed to display their DVDs in Walmart?
Answer: CANNOTANSWER
John Dewey

Context: Dewey believed that the successful classroom teacher possesses a passion for knowledge and an intellectual curiosity in the materials and methods they teach. For Dewey, this propensity is an inherent curiosity and love for learning that differs from one's ability to acquire, recite and reproduce textbook knowledge. "No one," according to Dewey, "can be really successful in performing the duties and meeting these demands [of teaching] who does not retain [her] intellectual curiosity intact throughout [her] entire career" (Dewey, APT, 2010, p. 34). According to Dewey, it is not that the "teacher ought to strive to be a high-class scholar in all the subjects he or she has to teach," rather, "a teacher ought to have an unusual love and aptitude in some one subject: history, mathematics, literature, science, a fine art, or whatever" (Dewey, APT, 2010, p. 35). The classroom teacher does not have to be a scholar in all subjects; rather, a genuine love in one will elicit a feel for genuine information and insight in all subjects taught. In addition to this propensity for study into the subjects taught, the classroom teacher "is possessed by a recognition of the responsibility for the constant study of school room work, the constant study of children, of methods, of subject matter in its various adaptations to pupils" (Dewey, PST, 2010, p. 37). For Dewey, this desire for the lifelong pursuit of learning is inherent in other professions (e.g. the architectural, legal and medical fields; Dewey, 1904 & Dewey, PST, 2010), and has particular importance for the field of teaching. As Dewey notes, "this further study is not a side line but something which fits directly into the demands and opportunities of the vocation" (Dewey, APT, 2010, p. 34). According to Dewey, this propensity and passion for intellectual growth in the profession must be accompanied by a natural desire to communicate one's knowledge with others. "There are scholars who have [the knowledge] in a marked degree but who lack enthusiasm for imparting it. To the 'natural born' teacher learning is incomplete unless it is shared" (Dewey, APT, 2010, p. 35). For Dewey, it is not enough for the classroom teacher to be a lifelong learner of the techniques and subject-matter of education; she must aspire to share what she knows with others in her learning community. CANNOTANSWER

Question: Was John Dewey a teacher?
Answer: CANNOTANSWER
John Dewey

Context: Dewey believed that the successful classroom teacher possesses a passion for knowledge and an intellectual curiosity in the materials and methods they teach. For Dewey, this propensity is an inherent curiosity and love for learning that differs from one's ability to acquire, recite and reproduce textbook knowledge. "No one," according to Dewey, "can be really successful in performing the duties and meeting these demands [of teaching] who does not retain [her] intellectual curiosity intact throughout [her] entire career" (Dewey, APT, 2010, p. 34). According to Dewey, it is not that the "teacher ought to strive to be a high-class scholar in all the subjects he or she has to teach," rather, "a teacher ought to have an unusual love and aptitude in some one subject: history, mathematics, literature, science, a fine art, or whatever" (Dewey, APT, 2010, p. 35). The classroom teacher does not have to be a scholar in all subjects; rather, a genuine love in one will elicit a feel for genuine information and insight in all subjects taught. In addition to this propensity for study into the subjects taught, the classroom teacher "is possessed by a recognition of the responsibility for the constant study of school room work, the constant study of children, of methods, of subject matter in its various adaptations to pupils" (Dewey, PST, 2010, p. 37). For Dewey, this desire for the lifelong pursuit of learning is inherent in other professions (e.g. the architectural, legal and medical fields; Dewey, 1904 & Dewey, PST, 2010), and has particular importance for the field of teaching. As Dewey notes, "this further study is not a side line but something which fits directly into the demands and opportunities of the vocation" (Dewey, APT, 2010, p. 34). According to Dewey, this propensity and passion for intellectual growth in the profession must be accompanied by a natural desire to communicate one's knowledge with others. "There are scholars who have [the knowledge] in a marked degree but who lack enthusiasm for imparting it. To the 'natural born' teacher learning is incomplete unless it is shared" (Dewey, APT, 2010, p. 35). For Dewey, it is not enough for the classroom teacher to be a lifelong learner of the techniques and subject-matter of education; she must aspire to share what she knows with others in her learning community. CANNOTANSWER

Question: Was Dewey passionate about teaching?
Answer: according to Dewey, "can be really successful in performing the duties and meeting these demands [of teaching] who does not retain [her] intellectual curiosity intact throughout [her] entire career" (
John Dewey

Context: Dewey believed that the successful classroom teacher possesses a passion for knowledge and an intellectual curiosity in the materials and methods they teach. For Dewey, this propensity is an inherent curiosity and love for learning that differs from one's ability to acquire, recite and reproduce textbook knowledge. "No one," according to Dewey, "can be really successful in performing the duties and meeting these demands [of teaching] who does not retain [her] intellectual curiosity intact throughout [her] entire career" (Dewey, APT, 2010, p. 34). According to Dewey, it is not that the "teacher ought to strive to be a high-class scholar in all the subjects he or she has to teach," rather, "a teacher ought to have an unusual love and aptitude in some one subject: history, mathematics, literature, science, a fine art, or whatever" (Dewey, APT, 2010, p. 35). The classroom teacher does not have to be a scholar in all subjects; rather, a genuine love in one will elicit a feel for genuine information and insight in all subjects taught. In addition to this propensity for study into the subjects taught, the classroom teacher "is possessed by a recognition of the responsibility for the constant study of school room work, the constant study of children, of methods, of subject matter in its various adaptations to pupils" (Dewey, PST, 2010, p. 37). For Dewey, this desire for the lifelong pursuit of learning is inherent in other professions (e.g. the architectural, legal and medical fields; Dewey, 1904 & Dewey, PST, 2010), and has particular importance for the field of teaching. As Dewey notes, "this further study is not a side line but something which fits directly into the demands and opportunities of the vocation" (Dewey, APT, 2010, p. 34). According to Dewey, this propensity and passion for intellectual growth in the profession must be accompanied by a natural desire to communicate one's knowledge with others. "There are scholars who have [the knowledge] in a marked degree but who lack enthusiasm for imparting it. To the 'natural born' teacher learning is incomplete unless it is shared" (Dewey, APT, 2010, p. 35). For Dewey, it is not enough for the classroom teacher to be a lifelong learner of the techniques and subject-matter of education; she must aspire to share what she knows with others in her learning community. CANNOTANSWER

Question: Other than believing that the successful classroom teacher possesses a passion for knowledge and an intellectual curiosity in the materials and methods they teach, what were John Dewey's other thoughts about teaching?
Answer: In addition to this propensity for study into the subjects taught, the classroom teacher "is possessed by a recognition of the responsibility for the constant study of school room work,
John Dewey

Context: Dewey believed that the successful classroom teacher possesses a passion for knowledge and an intellectual curiosity in the materials and methods they teach. For Dewey, this propensity is an inherent curiosity and love for learning that differs from one's ability to acquire, recite and reproduce textbook knowledge. "No one," according to Dewey, "can be really successful in performing the duties and meeting these demands [of teaching] who does not retain [her] intellectual curiosity intact throughout [her] entire career" (Dewey, APT, 2010, p. 34). According to Dewey, it is not that the "teacher ought to strive to be a high-class scholar in all the subjects he or she has to teach," rather, "a teacher ought to have an unusual love and aptitude in some one subject: history, mathematics, literature, science, a fine art, or whatever" (Dewey, APT, 2010, p. 35). The classroom teacher does not have to be a scholar in all subjects; rather, a genuine love in one will elicit a feel for genuine information and insight in all subjects taught. In addition to this propensity for study into the subjects taught, the classroom teacher "is possessed by a recognition of the responsibility for the constant study of school room work, the constant study of children, of methods, of subject matter in its various adaptations to pupils" (Dewey, PST, 2010, p. 37). For Dewey, this desire for the lifelong pursuit of learning is inherent in other professions (e.g. the architectural, legal and medical fields; Dewey, 1904 & Dewey, PST, 2010), and has particular importance for the field of teaching. As Dewey notes, "this further study is not a side line but something which fits directly into the demands and opportunities of the vocation" (Dewey, APT, 2010, p. 34). According to Dewey, this propensity and passion for intellectual growth in the profession must be accompanied by a natural desire to communicate one's knowledge with others. "There are scholars who have [the knowledge] in a marked degree but who lack enthusiasm for imparting it. To the 'natural born' teacher learning is incomplete unless it is shared" (Dewey, APT, 2010, p. 35). For Dewey, it is not enough for the classroom teacher to be a lifelong learner of the techniques and subject-matter of education; she must aspire to share what she knows with others in her learning community. CANNOTANSWER

Question: In what year did John Dewey write about his teaching philosophy?
Answer: CANNOTANSWER
John Dewey

Context: Dewey believed that the successful classroom teacher possesses a passion for knowledge and an intellectual curiosity in the materials and methods they teach. For Dewey, this propensity is an inherent curiosity and love for learning that differs from one's ability to acquire, recite and reproduce textbook knowledge. "No one," according to Dewey, "can be really successful in performing the duties and meeting these demands [of teaching] who does not retain [her] intellectual curiosity intact throughout [her] entire career" (Dewey, APT, 2010, p. 34). According to Dewey, it is not that the "teacher ought to strive to be a high-class scholar in all the subjects he or she has to teach," rather, "a teacher ought to have an unusual love and aptitude in some one subject: history, mathematics, literature, science, a fine art, or whatever" (Dewey, APT, 2010, p. 35). The classroom teacher does not have to be a scholar in all subjects; rather, a genuine love in one will elicit a feel for genuine information and insight in all subjects taught. In addition to this propensity for study into the subjects taught, the classroom teacher "is possessed by a recognition of the responsibility for the constant study of school room work, the constant study of children, of methods, of subject matter in its various adaptations to pupils" (Dewey, PST, 2010, p. 37). For Dewey, this desire for the lifelong pursuit of learning is inherent in other professions (e.g. the architectural, legal and medical fields; Dewey, 1904 & Dewey, PST, 2010), and has particular importance for the field of teaching. As Dewey notes, "this further study is not a side line but something which fits directly into the demands and opportunities of the vocation" (Dewey, APT, 2010, p. 34). According to Dewey, this propensity and passion for intellectual growth in the profession must be accompanied by a natural desire to communicate one's knowledge with others. "There are scholars who have [the knowledge] in a marked degree but who lack enthusiasm for imparting it. To the 'natural born' teacher learning is incomplete unless it is shared" (Dewey, APT, 2010, p. 35). For Dewey, it is not enough for the classroom teacher to be a lifelong learner of the techniques and subject-matter of education; she must aspire to share what she knows with others in her learning community. CANNOTANSWER

Question: Other than John Dewey's passion about teaching, is there anything else significant in the article about a teacher's knowledge?
Answer: According to Dewey, this propensity and passion for intellectual growth in the profession must be accompanied by a natural desire to communicate one's knowledge with others.
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: What was the first indication of Spandau Ballet's success at the international level?
Answer: The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada.
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: What were the notable songs from the album Parade?
Answer: The album's opening song, "Only When You Leave",
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: How did the Only When You Leave do on the charts?
Answer: became the band's last American hit.
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: Besides the hit opening song Only When You Leave are there any other interesting aspects about this article?
Answer: At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid.
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: How was Through the Barricades received by the critics?
Answer: CANNOTANSWER
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: What did the fans think of the new musical direction?
Answer: the title track and the album both reached the Top 10 in the UK and Europe.
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: Did Spandau Ballet release another album after Through the Barricades?
Answer: After a hiatus from recording, the band released their next album, Heart Like a Sky,
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: How did Heart Like a Sky do on the charts?
Answer: The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States.
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: Did Spandau Ballet tour to support the a
Answer: CANNOTANSWER
Spandau Ballet

Context: The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2. The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid. During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label. In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe. After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10) and also in Belgium, Germany and the Netherlands. CANNOTANSWER

Question: When did Spandau Ballet start to decline?
Answer: CANNOTANSWER