gaussalgo/Canard_Wiki-augmented huggingface dataset:
Leo Fender

Context: During this time, Fender also tackled the problems experienced by players of the acoustic double bass, who could no longer compete for volume with the other musicians. Besides, double basses were also large, bulky, and difficult to transport. With the Precision Bass (or "P-Bass"), released in 1951, Leo Fender addressed both issues: the Telecaster-based Precision Bass was small and portable, and its solid-body construction and four-magnet, single coil pickup let it play at higher volumes without feedback. Along with the Precision Bass (so named because its fretted neck allowed bassists to play with 'precision'), Fender introduced a bass amplifier, the Fender Bassman, a 25-watt amplifier with one 15-inch speaker (later updated to 45 watts and four 10-inch speakers). 1954 saw an update of the Precision Bass to coincide with the introduction of the Stratocaster. Incorporating some of the body contours of the Stratocaster, the update also included a two-section nickel-plated bridge and a white single-layer pickguard. In June 1957, Fender announced a redesign of the Precision Bass. The remake included a larger headstock, a new pickguard design, a bridge with four steel saddles that could be individually adjusted and a new split single-coil pickup. This proved to be the final version of the instrument, which has changed little since then. In 1960, rosewood fingerboards, wider color selections and a three-ply pickguard became available for the P-Bass. 1960 saw the release of the Jazz Bass, a sleeker, updated bass with a slimmer neck, and offset waist body and two single coil pickups (as opposed to the Precision Bass and its split-humbucking pickup that had been introduced in 1957). Like its predecessor, the Jazz Bass (or simply "J-Bass") was an instant hit and has remained popular to this day, and early models are highly sought after by collectors. CANNOTANSWER

Question: Was the Precision Bass a success?
Answer: proved to be the final version of the instrument, which has changed little since then.
Leo Fender

Context: During this time, Fender also tackled the problems experienced by players of the acoustic double bass, who could no longer compete for volume with the other musicians. Besides, double basses were also large, bulky, and difficult to transport. With the Precision Bass (or "P-Bass"), released in 1951, Leo Fender addressed both issues: the Telecaster-based Precision Bass was small and portable, and its solid-body construction and four-magnet, single coil pickup let it play at higher volumes without feedback. Along with the Precision Bass (so named because its fretted neck allowed bassists to play with 'precision'), Fender introduced a bass amplifier, the Fender Bassman, a 25-watt amplifier with one 15-inch speaker (later updated to 45 watts and four 10-inch speakers). 1954 saw an update of the Precision Bass to coincide with the introduction of the Stratocaster. Incorporating some of the body contours of the Stratocaster, the update also included a two-section nickel-plated bridge and a white single-layer pickguard. In June 1957, Fender announced a redesign of the Precision Bass. The remake included a larger headstock, a new pickguard design, a bridge with four steel saddles that could be individually adjusted and a new split single-coil pickup. This proved to be the final version of the instrument, which has changed little since then. In 1960, rosewood fingerboards, wider color selections and a three-ply pickguard became available for the P-Bass. 1960 saw the release of the Jazz Bass, a sleeker, updated bass with a slimmer neck, and offset waist body and two single coil pickups (as opposed to the Precision Bass and its split-humbucking pickup that had been introduced in 1957). Like its predecessor, the Jazz Bass (or simply "J-Bass") was an instant hit and has remained popular to this day, and early models are highly sought after by collectors. CANNOTANSWER

Question: Did Leo Fender have any awards?
Answer: CANNOTANSWER
Leo Fender

Context: Clarence Leonidas Fender ("Leo") was born on August 10, 1909, to Clarence Monte Fender and Harriet Elvira Wood, owners of a successful orange grove located between Anaheim and Fullerton, California. From an early age, Fender showed an interest in tinkering with electronics. When he was 13 years old, his uncle, who ran an automotive-electric shop, sent him a box filled with discarded car radio parts, and a battery. The following year, Leo visited his uncle's shop in Santa Maria, California, and was fascinated by a radio his uncle had built from spare parts and placed on display in the front of the shop. Leo later claimed that the loud music coming from the speaker of that radio made a lasting impression on him. Soon thereafter, Leo began repairing radios in a small shop in his parents' home. In the spring of 1928, Fender graduated from Fullerton Union High School, and entered Fullerton Junior College that fall, as an accounting major. While he was studying to be an accountant, he continued to teach himself electronics, and tinker with radios and other electrical items but never took any kind of electronics course. After college, Fender took a job as a delivery man for Consolidated Ice and Cold Storage Company in Anaheim, where he was later made the bookkeeper. It was around this time that a local band leader approached Leo, asking him if he could build a public address system for use by the band at dances in Hollywood. Fender was contracted to build six of these PA systems. In 1933, Fender met Esther Klosky, and they were married in 1934. About that time, he took a job as an accountant for the California Highway Department in San Luis Obispo. In a depression government change, his job was eliminated, and he then took a job in the accounting department of a tire company. After working there for six months, Leo lost his job along with the other accountants in the company. CANNOTANSWER

Question: Is there a written biography about Leo Fender?
Answer: CANNOTANSWER
Leo Fender

Context: Clarence Leonidas Fender ("Leo") was born on August 10, 1909, to Clarence Monte Fender and Harriet Elvira Wood, owners of a successful orange grove located between Anaheim and Fullerton, California. From an early age, Fender showed an interest in tinkering with electronics. When he was 13 years old, his uncle, who ran an automotive-electric shop, sent him a box filled with discarded car radio parts, and a battery. The following year, Leo visited his uncle's shop in Santa Maria, California, and was fascinated by a radio his uncle had built from spare parts and placed on display in the front of the shop. Leo later claimed that the loud music coming from the speaker of that radio made a lasting impression on him. Soon thereafter, Leo began repairing radios in a small shop in his parents' home. In the spring of 1928, Fender graduated from Fullerton Union High School, and entered Fullerton Junior College that fall, as an accounting major. While he was studying to be an accountant, he continued to teach himself electronics, and tinker with radios and other electrical items but never took any kind of electronics course. After college, Fender took a job as a delivery man for Consolidated Ice and Cold Storage Company in Anaheim, where he was later made the bookkeeper. It was around this time that a local band leader approached Leo, asking him if he could build a public address system for use by the band at dances in Hollywood. Fender was contracted to build six of these PA systems. In 1933, Fender met Esther Klosky, and they were married in 1934. About that time, he took a job as an accountant for the California Highway Department in San Luis Obispo. In a depression government change, his job was eliminated, and he then took a job in the accounting department of a tire company. After working there for six months, Leo lost his job along with the other accountants in the company. CANNOTANSWER

Question: Where was Leo Fender born?
Answer: CANNOTANSWER
Leo Fender

Context: Clarence Leonidas Fender ("Leo") was born on August 10, 1909, to Clarence Monte Fender and Harriet Elvira Wood, owners of a successful orange grove located between Anaheim and Fullerton, California. From an early age, Fender showed an interest in tinkering with electronics. When he was 13 years old, his uncle, who ran an automotive-electric shop, sent him a box filled with discarded car radio parts, and a battery. The following year, Leo visited his uncle's shop in Santa Maria, California, and was fascinated by a radio his uncle had built from spare parts and placed on display in the front of the shop. Leo later claimed that the loud music coming from the speaker of that radio made a lasting impression on him. Soon thereafter, Leo began repairing radios in a small shop in his parents' home. In the spring of 1928, Fender graduated from Fullerton Union High School, and entered Fullerton Junior College that fall, as an accounting major. While he was studying to be an accountant, he continued to teach himself electronics, and tinker with radios and other electrical items but never took any kind of electronics course. After college, Fender took a job as a delivery man for Consolidated Ice and Cold Storage Company in Anaheim, where he was later made the bookkeeper. It was around this time that a local band leader approached Leo, asking him if he could build a public address system for use by the band at dances in Hollywood. Fender was contracted to build six of these PA systems. In 1933, Fender met Esther Klosky, and they were married in 1934. About that time, he took a job as an accountant for the California Highway Department in San Luis Obispo. In a depression government change, his job was eliminated, and he then took a job in the accounting department of a tire company. After working there for six months, Leo lost his job along with the other accountants in the company. CANNOTANSWER

Question: Does Leo Fender have any siblings?
Answer: CANNOTANSWER
Leo Fender

Context: Clarence Leonidas Fender ("Leo") was born on August 10, 1909, to Clarence Monte Fender and Harriet Elvira Wood, owners of a successful orange grove located between Anaheim and Fullerton, California. From an early age, Fender showed an interest in tinkering with electronics. When he was 13 years old, his uncle, who ran an automotive-electric shop, sent him a box filled with discarded car radio parts, and a battery. The following year, Leo visited his uncle's shop in Santa Maria, California, and was fascinated by a radio his uncle had built from spare parts and placed on display in the front of the shop. Leo later claimed that the loud music coming from the speaker of that radio made a lasting impression on him. Soon thereafter, Leo began repairing radios in a small shop in his parents' home. In the spring of 1928, Fender graduated from Fullerton Union High School, and entered Fullerton Junior College that fall, as an accounting major. While he was studying to be an accountant, he continued to teach himself electronics, and tinker with radios and other electrical items but never took any kind of electronics course. After college, Fender took a job as a delivery man for Consolidated Ice and Cold Storage Company in Anaheim, where he was later made the bookkeeper. It was around this time that a local band leader approached Leo, asking him if he could build a public address system for use by the band at dances in Hollywood. Fender was contracted to build six of these PA systems. In 1933, Fender met Esther Klosky, and they were married in 1934. About that time, he took a job as an accountant for the California Highway Department in San Luis Obispo. In a depression government change, his job was eliminated, and he then took a job in the accounting department of a tire company. After working there for six months, Leo lost his job along with the other accountants in the company. CANNOTANSWER

Question: When was Leo Fender born?
Answer: August 10, 1909,
Leo Fender

Context: Clarence Leonidas Fender ("Leo") was born on August 10, 1909, to Clarence Monte Fender and Harriet Elvira Wood, owners of a successful orange grove located between Anaheim and Fullerton, California. From an early age, Fender showed an interest in tinkering with electronics. When he was 13 years old, his uncle, who ran an automotive-electric shop, sent him a box filled with discarded car radio parts, and a battery. The following year, Leo visited his uncle's shop in Santa Maria, California, and was fascinated by a radio his uncle had built from spare parts and placed on display in the front of the shop. Leo later claimed that the loud music coming from the speaker of that radio made a lasting impression on him. Soon thereafter, Leo began repairing radios in a small shop in his parents' home. In the spring of 1928, Fender graduated from Fullerton Union High School, and entered Fullerton Junior College that fall, as an accounting major. While he was studying to be an accountant, he continued to teach himself electronics, and tinker with radios and other electrical items but never took any kind of electronics course. After college, Fender took a job as a delivery man for Consolidated Ice and Cold Storage Company in Anaheim, where he was later made the bookkeeper. It was around this time that a local band leader approached Leo, asking him if he could build a public address system for use by the band at dances in Hollywood. Fender was contracted to build six of these PA systems. In 1933, Fender met Esther Klosky, and they were married in 1934. About that time, he took a job as an accountant for the California Highway Department in San Luis Obispo. In a depression government change, his job was eliminated, and he then took a job in the accounting department of a tire company. After working there for six months, Leo lost his job along with the other accountants in the company. CANNOTANSWER

Question: What were Leo Fender's parents names?
Answer: Clarence Monte Fender and Harriet Elvira Wood,
Forrest Gump

Context: Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support. The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people. CANNOTANSWER

Question: What type of visual effects were used in the movie Forrest Gump?
Answer: CGI techniques,
Forrest Gump

Context: Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support. The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people. CANNOTANSWER

Question: Besides CGI, what other techniques were used in the movie Forrest Gump?
Answer: voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue.
Forrest Gump

Context: Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support. The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people. CANNOTANSWER

Question: Who was in charge of the visual effects for the movie Forrest Gump?
Answer: Ken Ralston and his team at Industrial Light & Magic
Forrest Gump

Context: Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support. The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people. CANNOTANSWER

Question: Are there any notable scenes in Forrest Gump where you can see the use of the visual effects?
Answer: In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack.
Forrest Gump

Context: Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support. The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people. CANNOTANSWER

Question: Besides the Vietnam War scene, are there any other scenes in Forrest Gump?
Answer: The CGI removal of actor Gary Sinise's legs,
Forrest Gump

Context: Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage. To record the voices of the historical figures, voice actors were filmed and special effects were used to alter lip-syncing for the new dialogue. Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support. The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used. At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people. CANNOTANSWER

Question: Other than use of CGI is there anything else interesting about the visual effects that were used in the movie Forrest Gump?
Answer: The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C.,
Supergirl (Kara Zor-El)

Context: After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman's cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman. Loeb states: It was the convergence of two trains heading on toward each other. I was working on the Superman monthly when Superman Group Editor Eddie "Extravaganza" Berganza and I were kicking around an Armageddon type story where this giant asteroid from Krypton was making its way toward Earth, and somewhere out past Neptune Superman was beginning to feel it. We figured we could tie it into "The Fall of Luthor" since DC was very kind to let me both put Lex in the White House and figure out how to get him out. Eddie and I started giggling over the possibilities of there being "something" in the asteroid. Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about. The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as "The Girl of Steel". The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl: I love that she has all this power and has to learn what it is to be a superhero in the DCU," said Loeb. "It's one thing to try that with Manhunter (which is terrific), but when you have an icon like Supergirl trying to find her way and, at the same time, at a power level that we haven't even begun to explore ... it should make for a bitchin' good time. As the character continued to be reinvented, steps towards regarding the iconic character were some of the most prominent changes. Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts, feeling such a change was a logical progression and "more respectable." CANNOTANSWER

Question: How was Supergirl revived?
Answer: The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004
Supergirl (Kara Zor-El)

Context: After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman's cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman. Loeb states: It was the convergence of two trains heading on toward each other. I was working on the Superman monthly when Superman Group Editor Eddie "Extravaganza" Berganza and I were kicking around an Armageddon type story where this giant asteroid from Krypton was making its way toward Earth, and somewhere out past Neptune Superman was beginning to feel it. We figured we could tie it into "The Fall of Luthor" since DC was very kind to let me both put Lex in the White House and figure out how to get him out. Eddie and I started giggling over the possibilities of there being "something" in the asteroid. Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about. The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as "The Girl of Steel". The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl: I love that she has all this power and has to learn what it is to be a superhero in the DCU," said Loeb. "It's one thing to try that with Manhunter (which is terrific), but when you have an icon like Supergirl trying to find her way and, at the same time, at a power level that we haven't even begun to explore ... it should make for a bitchin' good time. As the character continued to be reinvented, steps towards regarding the iconic character were some of the most prominent changes. Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts, feeling such a change was a logical progression and "more respectable." CANNOTANSWER

Question: Besides Supergirl's revival, are there any other interesting aspects about this article?
Answer: Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts,
Supergirl (Kara Zor-El)

Context: After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman's cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman. Loeb states: It was the convergence of two trains heading on toward each other. I was working on the Superman monthly when Superman Group Editor Eddie "Extravaganza" Berganza and I were kicking around an Armageddon type story where this giant asteroid from Krypton was making its way toward Earth, and somewhere out past Neptune Superman was beginning to feel it. We figured we could tie it into "The Fall of Luthor" since DC was very kind to let me both put Lex in the White House and figure out how to get him out. Eddie and I started giggling over the possibilities of there being "something" in the asteroid. Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about. The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as "The Girl of Steel". The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl: I love that she has all this power and has to learn what it is to be a superhero in the DCU," said Loeb. "It's one thing to try that with Manhunter (which is terrific), but when you have an icon like Supergirl trying to find her way and, at the same time, at a power level that we haven't even begun to explore ... it should make for a bitchin' good time. As the character continued to be reinvented, steps towards regarding the iconic character were some of the most prominent changes. Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts, feeling such a change was a logical progression and "more respectable." CANNOTANSWER

Question: When was Superman/Batman #8 released?
Answer: made her debut in Superman/Batman #8 (2004).
Supergirl (Kara Zor-El)

Context: After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman's cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman. Loeb states: It was the convergence of two trains heading on toward each other. I was working on the Superman monthly when Superman Group Editor Eddie "Extravaganza" Berganza and I were kicking around an Armageddon type story where this giant asteroid from Krypton was making its way toward Earth, and somewhere out past Neptune Superman was beginning to feel it. We figured we could tie it into "The Fall of Luthor" since DC was very kind to let me both put Lex in the White House and figure out how to get him out. Eddie and I started giggling over the possibilities of there being "something" in the asteroid. Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about. The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as "The Girl of Steel". The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl: I love that she has all this power and has to learn what it is to be a superhero in the DCU," said Loeb. "It's one thing to try that with Manhunter (which is terrific), but when you have an icon like Supergirl trying to find her way and, at the same time, at a power level that we haven't even begun to explore ... it should make for a bitchin' good time. As the character continued to be reinvented, steps towards regarding the iconic character were some of the most prominent changes. Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts, feeling such a change was a logical progression and "more respectable." CANNOTANSWER

Question: What was next in the story line after Kara Zor-El's debut?
Answer: The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl:
Supergirl (Kara Zor-El)

Context: After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman's cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman. Loeb states: It was the convergence of two trains heading on toward each other. I was working on the Superman monthly when Superman Group Editor Eddie "Extravaganza" Berganza and I were kicking around an Armageddon type story where this giant asteroid from Krypton was making its way toward Earth, and somewhere out past Neptune Superman was beginning to feel it. We figured we could tie it into "The Fall of Luthor" since DC was very kind to let me both put Lex in the White House and figure out how to get him out. Eddie and I started giggling over the possibilities of there being "something" in the asteroid. Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about. The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as "The Girl of Steel". The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl: I love that she has all this power and has to learn what it is to be a superhero in the DCU," said Loeb. "It's one thing to try that with Manhunter (which is terrific), but when you have an icon like Supergirl trying to find her way and, at the same time, at a power level that we haven't even begun to explore ... it should make for a bitchin' good time. As the character continued to be reinvented, steps towards regarding the iconic character were some of the most prominent changes. Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts, feeling such a change was a logical progression and "more respectable." CANNOTANSWER

Question: Was Kara Zor-El related to super man?
Answer: Superman's cousin.
Supergirl (Kara Zor-El)

Context: After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman's cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman. Loeb states: It was the convergence of two trains heading on toward each other. I was working on the Superman monthly when Superman Group Editor Eddie "Extravaganza" Berganza and I were kicking around an Armageddon type story where this giant asteroid from Krypton was making its way toward Earth, and somewhere out past Neptune Superman was beginning to feel it. We figured we could tie it into "The Fall of Luthor" since DC was very kind to let me both put Lex in the White House and figure out how to get him out. Eddie and I started giggling over the possibilities of there being "something" in the asteroid. Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about. The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as "The Girl of Steel". The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill. Loeb would later describe the appeal of writing for Supergirl: I love that she has all this power and has to learn what it is to be a superhero in the DCU," said Loeb. "It's one thing to try that with Manhunter (which is terrific), but when you have an icon like Supergirl trying to find her way and, at the same time, at a power level that we haven't even begun to explore ... it should make for a bitchin' good time. As the character continued to be reinvented, steps towards regarding the iconic character were some of the most prominent changes. Artist Jamal Igle and editor Matt Idleson moved to transition the character away from red panties under her skirt to biker shorts, feeling such a change was a logical progression and "more respectable." CANNOTANSWER

Question: how did Kara Zor-El come to earth?
Answer: Or "someone" in the asteroid -- neither of us daring to speak her name, but we both knew who [we] were talking about.
Supergirl (Kara Zor-El)

Context: Prior to the post-Crisis introduction of Kara Zor-El into mainstream continuity, the pre-Crisis Kara Zor-El made an appearance in Peter David's Supergirl: Many Happy Returns. The then-current Supergirl series, at the time starring Linda Danvers, was in danger of cancellation and Peter David thought a story arc involving Kara Zor-El would be enough to revitalize the series. In an interview with Cliff Biggers of Newsarama, David states: Although it had always been in the back of my mind that doing a Kara-related storyline might be fun, the impetus at this point was, frankly, sales...I was trying to figure out who currently wasn't reading the series, and came up with two groups that we'd have a shot at getting: Those who'd become bored with the current storyline, and those who didn't accept any Supergirl save Kara. By doing 'Many Happy Returns,' I sought to pull in both potential audiences. In the Linda Danvers' Supergirl series issues 48 and 49 in 2001, the original dead Kara appears as Linda's "guardian angel". Then in issues 75 to 80, "Many Happy Returns", a young Kara appears from an earlier time long before the Crisis. The paradox becomes a moral crisis for Linda who tries to take her place as the Crisis sacrifice, living for years in a Silver Age universe where "no one swears, the villains are always easy to defeat, and everything's very, very clean." This run was illustrated by Ed Benes who had also illustrated Gail Simone's Birds of Prey which had a similar whimsical camaraderie between its female leads. Linda's inability to ultimately save Kara is so devastating that it ends her own career as Supergirl. This story arc is usually cited as one of the best Supergirl stories ever written. The series ended with issue 80. CANNOTANSWER

Question: What was two supergirls meet?
Answer: Linda Danvers' Supergirl series issues 48 and 49 in 2001, the original dead Kara
Supergirl (Kara Zor-El)

Context: Prior to the post-Crisis introduction of Kara Zor-El into mainstream continuity, the pre-Crisis Kara Zor-El made an appearance in Peter David's Supergirl: Many Happy Returns. The then-current Supergirl series, at the time starring Linda Danvers, was in danger of cancellation and Peter David thought a story arc involving Kara Zor-El would be enough to revitalize the series. In an interview with Cliff Biggers of Newsarama, David states: Although it had always been in the back of my mind that doing a Kara-related storyline might be fun, the impetus at this point was, frankly, sales...I was trying to figure out who currently wasn't reading the series, and came up with two groups that we'd have a shot at getting: Those who'd become bored with the current storyline, and those who didn't accept any Supergirl save Kara. By doing 'Many Happy Returns,' I sought to pull in both potential audiences. In the Linda Danvers' Supergirl series issues 48 and 49 in 2001, the original dead Kara appears as Linda's "guardian angel". Then in issues 75 to 80, "Many Happy Returns", a young Kara appears from an earlier time long before the Crisis. The paradox becomes a moral crisis for Linda who tries to take her place as the Crisis sacrifice, living for years in a Silver Age universe where "no one swears, the villains are always easy to defeat, and everything's very, very clean." This run was illustrated by Ed Benes who had also illustrated Gail Simone's Birds of Prey which had a similar whimsical camaraderie between its female leads. Linda's inability to ultimately save Kara is so devastating that it ends her own career as Supergirl. This story arc is usually cited as one of the best Supergirl stories ever written. The series ended with issue 80. CANNOTANSWER

Question: What was Kara role in Super girls Meet?
Answer: Prior to the post-Crisis introduction of Kara Zor-El into mainstream continuity,
Supergirl (Kara Zor-El)

Context: Prior to the post-Crisis introduction of Kara Zor-El into mainstream continuity, the pre-Crisis Kara Zor-El made an appearance in Peter David's Supergirl: Many Happy Returns. The then-current Supergirl series, at the time starring Linda Danvers, was in danger of cancellation and Peter David thought a story arc involving Kara Zor-El would be enough to revitalize the series. In an interview with Cliff Biggers of Newsarama, David states: Although it had always been in the back of my mind that doing a Kara-related storyline might be fun, the impetus at this point was, frankly, sales...I was trying to figure out who currently wasn't reading the series, and came up with two groups that we'd have a shot at getting: Those who'd become bored with the current storyline, and those who didn't accept any Supergirl save Kara. By doing 'Many Happy Returns,' I sought to pull in both potential audiences. In the Linda Danvers' Supergirl series issues 48 and 49 in 2001, the original dead Kara appears as Linda's "guardian angel". Then in issues 75 to 80, "Many Happy Returns", a young Kara appears from an earlier time long before the Crisis. The paradox becomes a moral crisis for Linda who tries to take her place as the Crisis sacrifice, living for years in a Silver Age universe where "no one swears, the villains are always easy to defeat, and everything's very, very clean." This run was illustrated by Ed Benes who had also illustrated Gail Simone's Birds of Prey which had a similar whimsical camaraderie between its female leads. Linda's inability to ultimately save Kara is so devastating that it ends her own career as Supergirl. This story arc is usually cited as one of the best Supergirl stories ever written. The series ended with issue 80. CANNOTANSWER

Question: What was the story-line of Two Supergirls meet?
Answer: In the Linda Danvers' Supergirl series issues 48 and 49 in 2001, the original dead Kara appears as Linda's "guardian angel".
Supergirl (Kara Zor-El)

Context: Prior to the post-Crisis introduction of Kara Zor-El into mainstream continuity, the pre-Crisis Kara Zor-El made an appearance in Peter David's Supergirl: Many Happy Returns. The then-current Supergirl series, at the time starring Linda Danvers, was in danger of cancellation and Peter David thought a story arc involving Kara Zor-El would be enough to revitalize the series. In an interview with Cliff Biggers of Newsarama, David states: Although it had always been in the back of my mind that doing a Kara-related storyline might be fun, the impetus at this point was, frankly, sales...I was trying to figure out who currently wasn't reading the series, and came up with two groups that we'd have a shot at getting: Those who'd become bored with the current storyline, and those who didn't accept any Supergirl save Kara. By doing 'Many Happy Returns,' I sought to pull in both potential audiences. In the Linda Danvers' Supergirl series issues 48 and 49 in 2001, the original dead Kara appears as Linda's "guardian angel". Then in issues 75 to 80, "Many Happy Returns", a young Kara appears from an earlier time long before the Crisis. The paradox becomes a moral crisis for Linda who tries to take her place as the Crisis sacrifice, living for years in a Silver Age universe where "no one swears, the villains are always easy to defeat, and everything's very, very clean." This run was illustrated by Ed Benes who had also illustrated Gail Simone's Birds of Prey which had a similar whimsical camaraderie between its female leads. Linda's inability to ultimately save Kara is so devastating that it ends her own career as Supergirl. This story arc is usually cited as one of the best Supergirl stories ever written. The series ended with issue 80. CANNOTANSWER

Question: When did Two Supergirls meet come out?
Answer: issues 48 and 49 in 2001,