gaussalgo/Canard_Wiki-augmented huggingface dataset:
Stephen Sondheim

Context: Burt Shevelove invited Sondheim to a party; Sondheim arrived before him, and knew no one else well. He saw a familiar face: Arthur Laurents, who had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood. He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein. Sondheim met Bernstein the following day, played for him and Bernstein said he would let him know. The composer wanted to write music and lyrics; after consulting with Hammerstein, Bernstein told Sondheim he could write music later. In 1957, West Side Story opened; directed by Jerome Robbins, it ran for 732 performances. Sondheim has expressed dissatisfaction with his lyrics, saying that they do not always fit the characters and are sometimes too consciously poetic. While Bernstein was working on Candide, Sondheim reportedly wrote some of West Side Story's music; Bernstein's co-lyricist credit disappeared from West Side Story during its tryout, possibly as a trade-off. Sondheim insisted that Bernstein told the producers to list him as the sole lyricist. He described the division of the royalties, saying that Bernstein received three percent and he received one percent. Bernstein suggested evening the percentage at two percent each, but Sondheim refused because he wanted the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage". After West Side Story opened, Shevelove lamented the lack of "low-brow comedy" on Broadway and mentioned a possible musical based on Plautus' Roman comedies. When Sondheim was interested in the idea he called a friend, Larry Gelbart, to co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project. In 1959, Sondheim was approached by Laurents and Robbins for a musical version of Gypsy Rose Lee's memoir after Irving Berlin and Cole Porter turned it down. Sondheim agreed, but Ethel Merman - cast as Mama Rose - had just finished Happy Hunting with an unknown composer (Harold Karr) and lyricist (Matt Dubey). Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music. Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, 1959, and ran for 702 performances. CANNOTANSWER

Question: Did Sondheim write the music, the lyrics, or both for his first show that was produced on Broadway?
Answer: Sondheim reportedly wrote some of West Side Story's music;
Stephen Sondheim

Context: Burt Shevelove invited Sondheim to a party; Sondheim arrived before him, and knew no one else well. He saw a familiar face: Arthur Laurents, who had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood. He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein. Sondheim met Bernstein the following day, played for him and Bernstein said he would let him know. The composer wanted to write music and lyrics; after consulting with Hammerstein, Bernstein told Sondheim he could write music later. In 1957, West Side Story opened; directed by Jerome Robbins, it ran for 732 performances. Sondheim has expressed dissatisfaction with his lyrics, saying that they do not always fit the characters and are sometimes too consciously poetic. While Bernstein was working on Candide, Sondheim reportedly wrote some of West Side Story's music; Bernstein's co-lyricist credit disappeared from West Side Story during its tryout, possibly as a trade-off. Sondheim insisted that Bernstein told the producers to list him as the sole lyricist. He described the division of the royalties, saying that Bernstein received three percent and he received one percent. Bernstein suggested evening the percentage at two percent each, but Sondheim refused because he wanted the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage". After West Side Story opened, Shevelove lamented the lack of "low-brow comedy" on Broadway and mentioned a possible musical based on Plautus' Roman comedies. When Sondheim was interested in the idea he called a friend, Larry Gelbart, to co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project. In 1959, Sondheim was approached by Laurents and Robbins for a musical version of Gypsy Rose Lee's memoir after Irving Berlin and Cole Porter turned it down. Sondheim agreed, but Ethel Merman - cast as Mama Rose - had just finished Happy Hunting with an unknown composer (Harold Karr) and lyricist (Matt Dubey). Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music. Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, 1959, and ran for 702 performances. CANNOTANSWER

Question: Sondheim was supposed to write the lyrics for his first show that was produced on Broadway--what happened?
Answer: Sondheim reportedly wrote some of West Side Story's music;
Stephen Sondheim

Context: Burt Shevelove invited Sondheim to a party; Sondheim arrived before him, and knew no one else well. He saw a familiar face: Arthur Laurents, who had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood. He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein. Sondheim met Bernstein the following day, played for him and Bernstein said he would let him know. The composer wanted to write music and lyrics; after consulting with Hammerstein, Bernstein told Sondheim he could write music later. In 1957, West Side Story opened; directed by Jerome Robbins, it ran for 732 performances. Sondheim has expressed dissatisfaction with his lyrics, saying that they do not always fit the characters and are sometimes too consciously poetic. While Bernstein was working on Candide, Sondheim reportedly wrote some of West Side Story's music; Bernstein's co-lyricist credit disappeared from West Side Story during its tryout, possibly as a trade-off. Sondheim insisted that Bernstein told the producers to list him as the sole lyricist. He described the division of the royalties, saying that Bernstein received three percent and he received one percent. Bernstein suggested evening the percentage at two percent each, but Sondheim refused because he wanted the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage". After West Side Story opened, Shevelove lamented the lack of "low-brow comedy" on Broadway and mentioned a possible musical based on Plautus' Roman comedies. When Sondheim was interested in the idea he called a friend, Larry Gelbart, to co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project. In 1959, Sondheim was approached by Laurents and Robbins for a musical version of Gypsy Rose Lee's memoir after Irving Berlin and Cole Porter turned it down. Sondheim agreed, but Ethel Merman - cast as Mama Rose - had just finished Happy Hunting with an unknown composer (Harold Karr) and lyricist (Matt Dubey). Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music. Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, 1959, and ran for 702 performances. CANNOTANSWER

Question: Who was not a fan of Sondheim's music?
Answer: CANNOTANSWER
Stephen Sondheim

Context: Burt Shevelove invited Sondheim to a party; Sondheim arrived before him, and knew no one else well. He saw a familiar face: Arthur Laurents, who had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood. He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein. Sondheim met Bernstein the following day, played for him and Bernstein said he would let him know. The composer wanted to write music and lyrics; after consulting with Hammerstein, Bernstein told Sondheim he could write music later. In 1957, West Side Story opened; directed by Jerome Robbins, it ran for 732 performances. Sondheim has expressed dissatisfaction with his lyrics, saying that they do not always fit the characters and are sometimes too consciously poetic. While Bernstein was working on Candide, Sondheim reportedly wrote some of West Side Story's music; Bernstein's co-lyricist credit disappeared from West Side Story during its tryout, possibly as a trade-off. Sondheim insisted that Bernstein told the producers to list him as the sole lyricist. He described the division of the royalties, saying that Bernstein received three percent and he received one percent. Bernstein suggested evening the percentage at two percent each, but Sondheim refused because he wanted the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage". After West Side Story opened, Shevelove lamented the lack of "low-brow comedy" on Broadway and mentioned a possible musical based on Plautus' Roman comedies. When Sondheim was interested in the idea he called a friend, Larry Gelbart, to co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project. In 1959, Sondheim was approached by Laurents and Robbins for a musical version of Gypsy Rose Lee's memoir after Irving Berlin and Cole Porter turned it down. Sondheim agreed, but Ethel Merman - cast as Mama Rose - had just finished Happy Hunting with an unknown composer (Harold Karr) and lyricist (Matt Dubey). Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music. Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, 1959, and ran for 702 performances. CANNOTANSWER

Question: What year was Romeo and Juliet produced?
Answer: CANNOTANSWER
The Rolling Stones

Context: The group's fortunes changed in 1978, after the band released Some Girls (UK No. 2; US No. 1), which included the hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered". In part as a response to punk, many songs, particularly "Respectable", were fast, basic, guitar-driven rock and roll, and the album's success re-established the Rolling Stones' immense popularity among young people. Following the US Tour 1978, the band guested on the first show of the fourth season of the TV series Saturday Night Live. Following the success of Some Girls, the band released their next album Emotional Rescue (UK 1; US 1) in mid-1980. During the recording sessions of the album, a rift between Jagger and Richards was slowly beginning to form. Richards wanted to tour in summer or autumn of 1980 to promote the new album. Much to his disappointment, Jagger declined. Emotional Rescue hit the top of the charts on both sides of the Atlantic and the title track reached No.3 in the US. In early 1981, the group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo You (UK 2; US 1), featured a number of outtakes, including lead single "Start Me Up", which reached No.2 in the US and ranked No.22 on Billboard's Hot 100 year-end chart. Two songs ("Waiting on a Friend" (US No. 13) and "Tops") featured Mick Taylor's unused rhythm guitar tracks, while jazz saxophonist Sonny Rollins played on "Slave" and "Waiting on a Friend". The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982, the No. 20 hit "Hang Fire". The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December. It was the highest grossing tour of that year. The tour included a concert at Chicago's Checkerboard Lounge with Muddy Waters, in what would be one of his last performances before his death in 1983. Some shows were recorded, resulting in the 1982 live album Still Life (American Concert 1981) (UK 4; US 5), and the 1983 Hal Ashby concert film Let's Spend the Night Together, which was filmed at Sun Devil Stadium in Tempe, Arizona and the Brendan Byrne Arena in the Meadowlands, New Jersey. In mid-1982, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe. The European Tour 1982 was their first European tour in six years, with a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavell, who continues to perform and record with the Rolling Stones. By the end of the year, the band had signed a new four-album recording deal with a new label, CBS Records, for a reported $50 million, then the biggest record deal in history. CANNOTANSWER

Question: What music did the Rolling Stones  make
Answer: hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered".
The Rolling Stones

Context: The group's fortunes changed in 1978, after the band released Some Girls (UK No. 2; US No. 1), which included the hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered". In part as a response to punk, many songs, particularly "Respectable", were fast, basic, guitar-driven rock and roll, and the album's success re-established the Rolling Stones' immense popularity among young people. Following the US Tour 1978, the band guested on the first show of the fourth season of the TV series Saturday Night Live. Following the success of Some Girls, the band released their next album Emotional Rescue (UK 1; US 1) in mid-1980. During the recording sessions of the album, a rift between Jagger and Richards was slowly beginning to form. Richards wanted to tour in summer or autumn of 1980 to promote the new album. Much to his disappointment, Jagger declined. Emotional Rescue hit the top of the charts on both sides of the Atlantic and the title track reached No.3 in the US. In early 1981, the group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo You (UK 2; US 1), featured a number of outtakes, including lead single "Start Me Up", which reached No.2 in the US and ranked No.22 on Billboard's Hot 100 year-end chart. Two songs ("Waiting on a Friend" (US No. 13) and "Tops") featured Mick Taylor's unused rhythm guitar tracks, while jazz saxophonist Sonny Rollins played on "Slave" and "Waiting on a Friend". The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982, the No. 20 hit "Hang Fire". The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December. It was the highest grossing tour of that year. The tour included a concert at Chicago's Checkerboard Lounge with Muddy Waters, in what would be one of his last performances before his death in 1983. Some shows were recorded, resulting in the 1982 live album Still Life (American Concert 1981) (UK 4; US 5), and the 1983 Hal Ashby concert film Let's Spend the Night Together, which was filmed at Sun Devil Stadium in Tempe, Arizona and the Brendan Byrne Arena in the Meadowlands, New Jersey. In mid-1982, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe. The European Tour 1982 was their first European tour in six years, with a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavell, who continues to perform and record with the Rolling Stones. By the end of the year, the band had signed a new four-album recording deal with a new label, CBS Records, for a reported $50 million, then the biggest record deal in history. CANNOTANSWER

Question: Name one rolling stones song?
Answer: hit single "Miss You
The Rolling Stones

Context: The group's fortunes changed in 1978, after the band released Some Girls (UK No. 2; US No. 1), which included the hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered". In part as a response to punk, many songs, particularly "Respectable", were fast, basic, guitar-driven rock and roll, and the album's success re-established the Rolling Stones' immense popularity among young people. Following the US Tour 1978, the band guested on the first show of the fourth season of the TV series Saturday Night Live. Following the success of Some Girls, the band released their next album Emotional Rescue (UK 1; US 1) in mid-1980. During the recording sessions of the album, a rift between Jagger and Richards was slowly beginning to form. Richards wanted to tour in summer or autumn of 1980 to promote the new album. Much to his disappointment, Jagger declined. Emotional Rescue hit the top of the charts on both sides of the Atlantic and the title track reached No.3 in the US. In early 1981, the group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo You (UK 2; US 1), featured a number of outtakes, including lead single "Start Me Up", which reached No.2 in the US and ranked No.22 on Billboard's Hot 100 year-end chart. Two songs ("Waiting on a Friend" (US No. 13) and "Tops") featured Mick Taylor's unused rhythm guitar tracks, while jazz saxophonist Sonny Rollins played on "Slave" and "Waiting on a Friend". The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982, the No. 20 hit "Hang Fire". The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December. It was the highest grossing tour of that year. The tour included a concert at Chicago's Checkerboard Lounge with Muddy Waters, in what would be one of his last performances before his death in 1983. Some shows were recorded, resulting in the 1982 live album Still Life (American Concert 1981) (UK 4; US 5), and the 1983 Hal Ashby concert film Let's Spend the Night Together, which was filmed at Sun Devil Stadium in Tempe, Arizona and the Brendan Byrne Arena in the Meadowlands, New Jersey. In mid-1982, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe. The European Tour 1982 was their first European tour in six years, with a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavell, who continues to perform and record with the Rolling Stones. By the end of the year, the band had signed a new four-album recording deal with a new label, CBS Records, for a reported $50 million, then the biggest record deal in history. CANNOTANSWER

Question: Any other songs from the rolling stones aside from "Miss You"?
Answer: the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered".
The Rolling Stones

Context: The group's fortunes changed in 1978, after the band released Some Girls (UK No. 2; US No. 1), which included the hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered". In part as a response to punk, many songs, particularly "Respectable", were fast, basic, guitar-driven rock and roll, and the album's success re-established the Rolling Stones' immense popularity among young people. Following the US Tour 1978, the band guested on the first show of the fourth season of the TV series Saturday Night Live. Following the success of Some Girls, the band released their next album Emotional Rescue (UK 1; US 1) in mid-1980. During the recording sessions of the album, a rift between Jagger and Richards was slowly beginning to form. Richards wanted to tour in summer or autumn of 1980 to promote the new album. Much to his disappointment, Jagger declined. Emotional Rescue hit the top of the charts on both sides of the Atlantic and the title track reached No.3 in the US. In early 1981, the group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo You (UK 2; US 1), featured a number of outtakes, including lead single "Start Me Up", which reached No.2 in the US and ranked No.22 on Billboard's Hot 100 year-end chart. Two songs ("Waiting on a Friend" (US No. 13) and "Tops") featured Mick Taylor's unused rhythm guitar tracks, while jazz saxophonist Sonny Rollins played on "Slave" and "Waiting on a Friend". The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982, the No. 20 hit "Hang Fire". The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December. It was the highest grossing tour of that year. The tour included a concert at Chicago's Checkerboard Lounge with Muddy Waters, in what would be one of his last performances before his death in 1983. Some shows were recorded, resulting in the 1982 live album Still Life (American Concert 1981) (UK 4; US 5), and the 1983 Hal Ashby concert film Let's Spend the Night Together, which was filmed at Sun Devil Stadium in Tempe, Arizona and the Brendan Byrne Arena in the Meadowlands, New Jersey. In mid-1982, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe. The European Tour 1982 was their first European tour in six years, with a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavell, who continues to perform and record with the Rolling Stones. By the end of the year, the band had signed a new four-album recording deal with a new label, CBS Records, for a reported $50 million, then the biggest record deal in history. CANNOTANSWER

Question: Who were members of the rolling stones?
Answer: Jagger and Richards
The Rolling Stones

Context: The group's fortunes changed in 1978, after the band released Some Girls (UK No. 2; US No. 1), which included the hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered". In part as a response to punk, many songs, particularly "Respectable", were fast, basic, guitar-driven rock and roll, and the album's success re-established the Rolling Stones' immense popularity among young people. Following the US Tour 1978, the band guested on the first show of the fourth season of the TV series Saturday Night Live. Following the success of Some Girls, the band released their next album Emotional Rescue (UK 1; US 1) in mid-1980. During the recording sessions of the album, a rift between Jagger and Richards was slowly beginning to form. Richards wanted to tour in summer or autumn of 1980 to promote the new album. Much to his disappointment, Jagger declined. Emotional Rescue hit the top of the charts on both sides of the Atlantic and the title track reached No.3 in the US. In early 1981, the group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo You (UK 2; US 1), featured a number of outtakes, including lead single "Start Me Up", which reached No.2 in the US and ranked No.22 on Billboard's Hot 100 year-end chart. Two songs ("Waiting on a Friend" (US No. 13) and "Tops") featured Mick Taylor's unused rhythm guitar tracks, while jazz saxophonist Sonny Rollins played on "Slave" and "Waiting on a Friend". The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982, the No. 20 hit "Hang Fire". The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December. It was the highest grossing tour of that year. The tour included a concert at Chicago's Checkerboard Lounge with Muddy Waters, in what would be one of his last performances before his death in 1983. Some shows were recorded, resulting in the 1982 live album Still Life (American Concert 1981) (UK 4; US 5), and the 1983 Hal Ashby concert film Let's Spend the Night Together, which was filmed at Sun Devil Stadium in Tempe, Arizona and the Brendan Byrne Arena in the Meadowlands, New Jersey. In mid-1982, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe. The European Tour 1982 was their first European tour in six years, with a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavell, who continues to perform and record with the Rolling Stones. By the end of the year, the band had signed a new four-album recording deal with a new label, CBS Records, for a reported $50 million, then the biggest record deal in history. CANNOTANSWER

Question: What else was interesting in this article besides the rolling stones songs and the names of the group members?
Answer: The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982,
The Rolling Stones

Context: The group's fortunes changed in 1978, after the band released Some Girls (UK No. 2; US No. 1), which included the hit single "Miss You", the country ballad "Far Away Eyes", "Beast of Burden", and "Shattered". In part as a response to punk, many songs, particularly "Respectable", were fast, basic, guitar-driven rock and roll, and the album's success re-established the Rolling Stones' immense popularity among young people. Following the US Tour 1978, the band guested on the first show of the fourth season of the TV series Saturday Night Live. Following the success of Some Girls, the band released their next album Emotional Rescue (UK 1; US 1) in mid-1980. During the recording sessions of the album, a rift between Jagger and Richards was slowly beginning to form. Richards wanted to tour in summer or autumn of 1980 to promote the new album. Much to his disappointment, Jagger declined. Emotional Rescue hit the top of the charts on both sides of the Atlantic and the title track reached No.3 in the US. In early 1981, the group reconvened and decided to tour the US that year, leaving little time to write and record a new album, as well as rehearse for the tour. That year's resulting album, Tattoo You (UK 2; US 1), featured a number of outtakes, including lead single "Start Me Up", which reached No.2 in the US and ranked No.22 on Billboard's Hot 100 year-end chart. Two songs ("Waiting on a Friend" (US No. 13) and "Tops") featured Mick Taylor's unused rhythm guitar tracks, while jazz saxophonist Sonny Rollins played on "Slave" and "Waiting on a Friend". The Rolling Stones scored one more top 20 hit on the Billboard Hot 100 in 1982, the No. 20 hit "Hang Fire". The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December. It was the highest grossing tour of that year. The tour included a concert at Chicago's Checkerboard Lounge with Muddy Waters, in what would be one of his last performances before his death in 1983. Some shows were recorded, resulting in the 1982 live album Still Life (American Concert 1981) (UK 4; US 5), and the 1983 Hal Ashby concert film Let's Spend the Night Together, which was filmed at Sun Devil Stadium in Tempe, Arizona and the Brendan Byrne Arena in the Meadowlands, New Jersey. In mid-1982, to commemorate their 20th anniversary, the Rolling Stones took their American stage show to Europe. The European Tour 1982 was their first European tour in six years, with a similar format to the American tour. The band were joined by former Allman Brothers Band keyboardist Chuck Leavell, who continues to perform and record with the Rolling Stones. By the end of the year, the band had signed a new four-album recording deal with a new label, CBS Records, for a reported $50 million, then the biggest record deal in history. CANNOTANSWER

Question: What happen after the rolling stones last billboard top 20 hit?
Answer: The Stones' American Tour 1981 was their biggest, longest and most colourful production to date, with the band playing from 25 September through 19 December.
Freaks

Context: Despite the extensive cuts, the film was still negatively received by audiences, recording a loss of $164,000, and remained an object of extreme controversy. Today, the scenes that were removed are considered lost. Browning, famed at the time for his collaborations with Lon Chaney and for directing Bela Lugosi in Dracula (1931), had trouble finding work afterward and this effectively brought his career to an early close. "Freaks" became the only MGM film ever to be pulled from release before completing its domestic engagements. Because the film was thought to be overly exploitative, it was banned in the United Kingdom for 30 years. A number of contemporary reviews were not only highly critical of the film, but expressed outrage and revulsion. Harrison's Reports wrote that "Any one who considers this entertainment should be placed in the pathological ward in some hospital." In The Kansas City Star, John C. Moffitt wrote, "There is no excuse for this picture. It took a weak mind to produce it and it takes a strong stomach to look at it." The Hollywood Reporter called it an "outrageous onslaught upon the feelings, the senses, the brains and the stomachs of an audience." Variety also published a negative review, writing that the film was "sumptuously produced, admirably directed, and no cost was spared, but Metro heads failed to realize that even with a different sort of offering the story is still important. Here the story is not sufficiently strong to get and hold the interest, partly because interest cannot easily be gained for too fantastic a romance." The review went on to state that the story "does not thrill and at the same time does not please, since it is impossible for the normal man or woman to sympathize with the aspiring midget. And only in such a case will the story appeal." Not all reviews were as harsh. The New York Times called it "excellent at times and horrible, in the strict meaning of the word, at others" as well as "a picture not to be easily forgotten." The New York Herald Tribune wrote that it was "obviously an unhealthy and generally disagreeable work," but that "in some strange way, the picture is not only exciting, but even occasionally touching." John Mosher of The New Yorker wrote a positive review, calling it "a little gem" that "stands in a class by itself, and probably won't be forgotten in a hurry by those who see it." He found its "perfectly plausible story" a key to the effectiveness of its horror, writing that "It's a chilling notion to imagine these weird beings, with their own lives and vanities and passions, all allied in a bitter enmity against us." Addressing the controversial subject matter, Mosher stated: "if the poor things themselves can be displayed in the basement of Madison Square Garden, pictures of them might as well be shown in the Rialto. They may hereafter even be regarded in the flesh with a new dread bordering on respect." CANNOTANSWER

Question: How was the movie called Freaks received?
Answer: Despite the extensive cuts, the film was still negatively received by audiences,
Freaks

Context: Despite the extensive cuts, the film was still negatively received by audiences, recording a loss of $164,000, and remained an object of extreme controversy. Today, the scenes that were removed are considered lost. Browning, famed at the time for his collaborations with Lon Chaney and for directing Bela Lugosi in Dracula (1931), had trouble finding work afterward and this effectively brought his career to an early close. "Freaks" became the only MGM film ever to be pulled from release before completing its domestic engagements. Because the film was thought to be overly exploitative, it was banned in the United Kingdom for 30 years. A number of contemporary reviews were not only highly critical of the film, but expressed outrage and revulsion. Harrison's Reports wrote that "Any one who considers this entertainment should be placed in the pathological ward in some hospital." In The Kansas City Star, John C. Moffitt wrote, "There is no excuse for this picture. It took a weak mind to produce it and it takes a strong stomach to look at it." The Hollywood Reporter called it an "outrageous onslaught upon the feelings, the senses, the brains and the stomachs of an audience." Variety also published a negative review, writing that the film was "sumptuously produced, admirably directed, and no cost was spared, but Metro heads failed to realize that even with a different sort of offering the story is still important. Here the story is not sufficiently strong to get and hold the interest, partly because interest cannot easily be gained for too fantastic a romance." The review went on to state that the story "does not thrill and at the same time does not please, since it is impossible for the normal man or woman to sympathize with the aspiring midget. And only in such a case will the story appeal." Not all reviews were as harsh. The New York Times called it "excellent at times and horrible, in the strict meaning of the word, at others" as well as "a picture not to be easily forgotten." The New York Herald Tribune wrote that it was "obviously an unhealthy and generally disagreeable work," but that "in some strange way, the picture is not only exciting, but even occasionally touching." John Mosher of The New Yorker wrote a positive review, calling it "a little gem" that "stands in a class by itself, and probably won't be forgotten in a hurry by those who see it." He found its "perfectly plausible story" a key to the effectiveness of its horror, writing that "It's a chilling notion to imagine these weird beings, with their own lives and vanities and passions, all allied in a bitter enmity against us." Addressing the controversial subject matter, Mosher stated: "if the poor things themselves can be displayed in the basement of Madison Square Garden, pictures of them might as well be shown in the Rialto. They may hereafter even be regarded in the flesh with a new dread bordering on respect." CANNOTANSWER

Question: What did people not like about the movie Freaks?
Answer: John C. Moffitt wrote, "There is no excuse for this picture. It took a weak mind to produce it and it takes a strong stomach to look at it.
Freaks

Context: Despite the extensive cuts, the film was still negatively received by audiences, recording a loss of $164,000, and remained an object of extreme controversy. Today, the scenes that were removed are considered lost. Browning, famed at the time for his collaborations with Lon Chaney and for directing Bela Lugosi in Dracula (1931), had trouble finding work afterward and this effectively brought his career to an early close. "Freaks" became the only MGM film ever to be pulled from release before completing its domestic engagements. Because the film was thought to be overly exploitative, it was banned in the United Kingdom for 30 years. A number of contemporary reviews were not only highly critical of the film, but expressed outrage and revulsion. Harrison's Reports wrote that "Any one who considers this entertainment should be placed in the pathological ward in some hospital." In The Kansas City Star, John C. Moffitt wrote, "There is no excuse for this picture. It took a weak mind to produce it and it takes a strong stomach to look at it." The Hollywood Reporter called it an "outrageous onslaught upon the feelings, the senses, the brains and the stomachs of an audience." Variety also published a negative review, writing that the film was "sumptuously produced, admirably directed, and no cost was spared, but Metro heads failed to realize that even with a different sort of offering the story is still important. Here the story is not sufficiently strong to get and hold the interest, partly because interest cannot easily be gained for too fantastic a romance." The review went on to state that the story "does not thrill and at the same time does not please, since it is impossible for the normal man or woman to sympathize with the aspiring midget. And only in such a case will the story appeal." Not all reviews were as harsh. The New York Times called it "excellent at times and horrible, in the strict meaning of the word, at others" as well as "a picture not to be easily forgotten." The New York Herald Tribune wrote that it was "obviously an unhealthy and generally disagreeable work," but that "in some strange way, the picture is not only exciting, but even occasionally touching." John Mosher of The New Yorker wrote a positive review, calling it "a little gem" that "stands in a class by itself, and probably won't be forgotten in a hurry by those who see it." He found its "perfectly plausible story" a key to the effectiveness of its horror, writing that "It's a chilling notion to imagine these weird beings, with their own lives and vanities and passions, all allied in a bitter enmity against us." Addressing the controversial subject matter, Mosher stated: "if the poor things themselves can be displayed in the basement of Madison Square Garden, pictures of them might as well be shown in the Rialto. They may hereafter even be regarded in the flesh with a new dread bordering on respect." CANNOTANSWER

Question: Who did the film Freaks exploit?
Answer: CANNOTANSWER
Freaks

Context: Despite the extensive cuts, the film was still negatively received by audiences, recording a loss of $164,000, and remained an object of extreme controversy. Today, the scenes that were removed are considered lost. Browning, famed at the time for his collaborations with Lon Chaney and for directing Bela Lugosi in Dracula (1931), had trouble finding work afterward and this effectively brought his career to an early close. "Freaks" became the only MGM film ever to be pulled from release before completing its domestic engagements. Because the film was thought to be overly exploitative, it was banned in the United Kingdom for 30 years. A number of contemporary reviews were not only highly critical of the film, but expressed outrage and revulsion. Harrison's Reports wrote that "Any one who considers this entertainment should be placed in the pathological ward in some hospital." In The Kansas City Star, John C. Moffitt wrote, "There is no excuse for this picture. It took a weak mind to produce it and it takes a strong stomach to look at it." The Hollywood Reporter called it an "outrageous onslaught upon the feelings, the senses, the brains and the stomachs of an audience." Variety also published a negative review, writing that the film was "sumptuously produced, admirably directed, and no cost was spared, but Metro heads failed to realize that even with a different sort of offering the story is still important. Here the story is not sufficiently strong to get and hold the interest, partly because interest cannot easily be gained for too fantastic a romance." The review went on to state that the story "does not thrill and at the same time does not please, since it is impossible for the normal man or woman to sympathize with the aspiring midget. And only in such a case will the story appeal." Not all reviews were as harsh. The New York Times called it "excellent at times and horrible, in the strict meaning of the word, at others" as well as "a picture not to be easily forgotten." The New York Herald Tribune wrote that it was "obviously an unhealthy and generally disagreeable work," but that "in some strange way, the picture is not only exciting, but even occasionally touching." John Mosher of The New Yorker wrote a positive review, calling it "a little gem" that "stands in a class by itself, and probably won't be forgotten in a hurry by those who see it." He found its "perfectly plausible story" a key to the effectiveness of its horror, writing that "It's a chilling notion to imagine these weird beings, with their own lives and vanities and passions, all allied in a bitter enmity against us." Addressing the controversial subject matter, Mosher stated: "if the poor things themselves can be displayed in the basement of Madison Square Garden, pictures of them might as well be shown in the Rialto. They may hereafter even be regarded in the flesh with a new dread bordering on respect." CANNOTANSWER

Question: What else did critics have to say about the movie Freaks, besides being thought to be overly exploitative?
Answer: Metro heads failed to realize that even with a different sort of offering the story is still important.
Freaks

Context: Despite the extensive cuts, the film was still negatively received by audiences, recording a loss of $164,000, and remained an object of extreme controversy. Today, the scenes that were removed are considered lost. Browning, famed at the time for his collaborations with Lon Chaney and for directing Bela Lugosi in Dracula (1931), had trouble finding work afterward and this effectively brought his career to an early close. "Freaks" became the only MGM film ever to be pulled from release before completing its domestic engagements. Because the film was thought to be overly exploitative, it was banned in the United Kingdom for 30 years. A number of contemporary reviews were not only highly critical of the film, but expressed outrage and revulsion. Harrison's Reports wrote that "Any one who considers this entertainment should be placed in the pathological ward in some hospital." In The Kansas City Star, John C. Moffitt wrote, "There is no excuse for this picture. It took a weak mind to produce it and it takes a strong stomach to look at it." The Hollywood Reporter called it an "outrageous onslaught upon the feelings, the senses, the brains and the stomachs of an audience." Variety also published a negative review, writing that the film was "sumptuously produced, admirably directed, and no cost was spared, but Metro heads failed to realize that even with a different sort of offering the story is still important. Here the story is not sufficiently strong to get and hold the interest, partly because interest cannot easily be gained for too fantastic a romance." The review went on to state that the story "does not thrill and at the same time does not please, since it is impossible for the normal man or woman to sympathize with the aspiring midget. And only in such a case will the story appeal." Not all reviews were as harsh. The New York Times called it "excellent at times and horrible, in the strict meaning of the word, at others" as well as "a picture not to be easily forgotten." The New York Herald Tribune wrote that it was "obviously an unhealthy and generally disagreeable work," but that "in some strange way, the picture is not only exciting, but even occasionally touching." John Mosher of The New Yorker wrote a positive review, calling it "a little gem" that "stands in a class by itself, and probably won't be forgotten in a hurry by those who see it." He found its "perfectly plausible story" a key to the effectiveness of its horror, writing that "It's a chilling notion to imagine these weird beings, with their own lives and vanities and passions, all allied in a bitter enmity against us." Addressing the controversial subject matter, Mosher stated: "if the poor things themselves can be displayed in the basement of Madison Square Garden, pictures of them might as well be shown in the Rialto. They may hereafter even be regarded in the flesh with a new dread bordering on respect." CANNOTANSWER

Question: What was the cost of the film to produce Freaks?
Answer: CANNOTANSWER