gaussalgo/Canard_Wiki-augmented huggingface dataset:
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: What is the name of the band Renaissance's hit single?
Answer: Northern Lights",
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: How did the Renaissance single do in the charts?
Answer: No. 10 during the summer of 1978.
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: What label was Renaissance  with when the song "Northern Lights" was produced?
Answer: CANNOTANSWER
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: besides with the song "Northern Lights" reaching No.10 in the charts, are there any other interesting aspects about the Renaissance article?
Answer: In the 1970s, Renaissance defined their work with folk rock and classical fusions.
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: Aside from at festivals, did Renaissance play with anyone else?
Answer: CANNOTANSWER
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: How many albums did Renaissance sell?
Answer: CANNOTANSWER
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: Did Renaissance win any awards with their single?
Answer: CANNOTANSWER
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: Did the band Renaissance do better in the US?
Answer: The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland
Renaissance (band)

Context: Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US), and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song For All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played Northern Lights. These clips can currently be viewed on YouTube. Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound. As a result, the band's fan base began to lose interest and the album only reached No. 125. Dunford and Camp assumed most of the band's songwriting. In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR. CANNOTANSWER

Question: What fact is most interesting to you in this article?
Answer: Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR.
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Who were the Renaissance?
Answer: The band
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: What did the Renassiance do differently on their new label?
Answer: The label's first release was Turn of the Cards in 1974.
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Aside from joining a new record label, are there any other interesting aspects about this article?
Answer: A double live album, Live at Carnegie Hall, followed in 1976.
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Was the Renaissance band successful?
Answer: it reached No. 94,
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Did the band Renaissance ever go on tour?
Answer: CANNOTANSWER
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Other than being a band, was the Renaissance known for anything else?
Answer: It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975.
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Who did the Renaissance meet?
Answer: CANNOTANSWER
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: In addition to adding Renaissance to a new label, what else happened?
Answer: A double live album, Live at Carnegie Hall, followed in 1976.
Renaissance (band)

Context: The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94, some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975. It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States. There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov." A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums, the album reached No. 55 in the US. Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall. They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.) Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977, although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band: CANNOTANSWER

Question: Did the Renaissance new album do well in the U.S.?
Answer: it reached No. 94,
Lillian Moller Gilbreth

Context: Gilbreth had a lifelong interest in teaching and education. As an undergraduate at the University of California, Berkeley, she took enough education courses to earn a teacher's certificate, and her doctoral dissertation at Brown University was on efficient teaching methods. While residing in Providence, Rhode Island, Gilbreth and her husband taught free, two-week-long summer schools in scientific management from 1913 to 1916. The Gilbreths also discussed teaching the Gilbreth System of time-and-motion study to members of industry, but it was not until after her husband's death in 1924 that she created a formal motion-study course. Gilbreth presented this idea at the First Prague International Management Congress in Prague on July 1924. Her first course began in January 1925. Gilbreth's classes offered to "prepare a member of an organization, who has adequate training both in scientific method and in plant problems, to take charge of Motion Study work in that organization." Coursework included laboratory projects and field trips to private firms to witness the application of scientific management. She ran a total of seven motion study courses out of her home in Montclair, New Jersey until 1930. To earn additional income to support her large family, Gilbreth delivered numerous addresses to business and industry gatherings, as well as on college and university campuses such as Harvard, Yale, Colgate, the University of Michigan, MIT, Stanford, and Purdue University. In 1925 she succeeded her husband as a visiting lecturer at Purdue, where he had been delivering annual lectures. In 1935 she became a professor of management at Purdue's School of Mechanical Engineering, and the country's first female engineering professor. She was promoted to a full professor at Purdue in 1940. Gilbreth divided her time between Purdue's departments of industrial engineering, industrial psychology, home economics, and the dean's office, where she consulted on careers for women. In cooperation with Marvin Mundel, Gilbreth established and supervised a time-and-motion-study laboratory at Purdue's School of Industrial Engineering. She also demonstrated how time-and-motion studies could be used in agricultural studies and later transferred motion-study techniques to the home economics department under the banner of "work simplification". Gilbreth retired from Purdue's faculty in 1948. After Gilbreth's retirement from Purdue, she continued to travel and deliver lectures. She also taught at several other colleges and universities, and became head of the Newark College of Engineering in 1941. Gilbreth was appointed the Knapp Visiting Professor at the University of Wisconsin's School of Engineering in 1955. She also taught at Bryn Mawr College and Rutgers University. In 1964, at the age of eighty-six, Gilbreth became resident lecturer at Massachusetts Institute of Technology. In 1968, when her health finally began to fail, Gilbreth retired from her active public life and eventually entered a nursing home. CANNOTANSWER

Question: What did author and educator Lillian Moller Gilbreth teach?
Answer: the Gilbreth System of time-and-motion study
Lillian Moller Gilbreth

Context: Gilbreth had a lifelong interest in teaching and education. As an undergraduate at the University of California, Berkeley, she took enough education courses to earn a teacher's certificate, and her doctoral dissertation at Brown University was on efficient teaching methods. While residing in Providence, Rhode Island, Gilbreth and her husband taught free, two-week-long summer schools in scientific management from 1913 to 1916. The Gilbreths also discussed teaching the Gilbreth System of time-and-motion study to members of industry, but it was not until after her husband's death in 1924 that she created a formal motion-study course. Gilbreth presented this idea at the First Prague International Management Congress in Prague on July 1924. Her first course began in January 1925. Gilbreth's classes offered to "prepare a member of an organization, who has adequate training both in scientific method and in plant problems, to take charge of Motion Study work in that organization." Coursework included laboratory projects and field trips to private firms to witness the application of scientific management. She ran a total of seven motion study courses out of her home in Montclair, New Jersey until 1930. To earn additional income to support her large family, Gilbreth delivered numerous addresses to business and industry gatherings, as well as on college and university campuses such as Harvard, Yale, Colgate, the University of Michigan, MIT, Stanford, and Purdue University. In 1925 she succeeded her husband as a visiting lecturer at Purdue, where he had been delivering annual lectures. In 1935 she became a professor of management at Purdue's School of Mechanical Engineering, and the country's first female engineering professor. She was promoted to a full professor at Purdue in 1940. Gilbreth divided her time between Purdue's departments of industrial engineering, industrial psychology, home economics, and the dean's office, where she consulted on careers for women. In cooperation with Marvin Mundel, Gilbreth established and supervised a time-and-motion-study laboratory at Purdue's School of Industrial Engineering. She also demonstrated how time-and-motion studies could be used in agricultural studies and later transferred motion-study techniques to the home economics department under the banner of "work simplification". Gilbreth retired from Purdue's faculty in 1948. After Gilbreth's retirement from Purdue, she continued to travel and deliver lectures. She also taught at several other colleges and universities, and became head of the Newark College of Engineering in 1941. Gilbreth was appointed the Knapp Visiting Professor at the University of Wisconsin's School of Engineering in 1955. She also taught at Bryn Mawr College and Rutgers University. In 1964, at the age of eighty-six, Gilbreth became resident lecturer at Massachusetts Institute of Technology. In 1968, when her health finally began to fail, Gilbreth retired from her active public life and eventually entered a nursing home. CANNOTANSWER

Question: Did Lillian Moller Gilbreth receive any awards?
Answer: CANNOTANSWER