gaussalgo/Canard_Wiki-augmented huggingface dataset:
Sandman (Wesley Dodds)

Context: Reintroduced in the Silver Age in Justice League of America No. 46 (July 1966), the Sandman made occasional appearances in the annual teamups between that superhero group and the JSA. In 1981 DC began publishing All-Star Squadron, a retelling of the Earth-Two mystery-men during WWII. Although not a main character, Sandman does appear in its pages. Of note is issue No. 18 which gives an explanation of why Dodds changed costumes from the cloak and gas mask to the yellow-and-purple outfit; Dian wore his costume while he was fighting elsewhere and she was killed in a fray. Dodds decided to wear the new costume, of Dian's design, until he could bring himself to wear the original in which she had died. Later, this explanation would be changed again when Dian Belmont was retconned to have never died, and a new explanation was given: Sandy convinced Dodds to switch to the more colorful costume to gain the support of regular people, who preferred the more traditional superhero look to his older, pulp-themed costume. An acclaimed film noir-inspired retelling of the original Sandman's adventures, Sandman Mystery Theatre, ran from 1993-1998 under DC Comics' Vertigo mature-reader imprint. Although as a whole its continuity within the DC Universe is debatable, several elements of the series - the more nuanced relationship between Dodds and Dian Belmont; the Sandman's appearance, (wearing a trench coat and World War I gas mask instead of the cape and the custom-made gas mask); and Dodds' pudgier appearance and wearing of glasses - have been adopted into regular continuity. The series ran for 70 issues and 1 annual. In Sandman Midnight Theatre (1995) a one-shot special by Neil Gaiman (author of the Modern Age supernatural series The Sandman), Matt Wagner (co-author of Sandman Mystery Theatre), and Teddy Kristiansen, depicts an interaction between the two characters, with the original visiting Great Britain and encountering the imprisoned Dream, the protagonist of Gaiman's series. A minor retcon by Gaiman suggested that Dodds' chosen identity was a result of Dream's absence from the realm the Dreaming, and that Dodds carries an aspect of that mystical realm. This explains Dodds' prophetic dreams. CANNOTANSWER

Question: Did Sandman appear in any tv shows?
Answer: CANNOTANSWER
Sandman (Wesley Dodds)

Context: Reintroduced in the Silver Age in Justice League of America No. 46 (July 1966), the Sandman made occasional appearances in the annual teamups between that superhero group and the JSA. In 1981 DC began publishing All-Star Squadron, a retelling of the Earth-Two mystery-men during WWII. Although not a main character, Sandman does appear in its pages. Of note is issue No. 18 which gives an explanation of why Dodds changed costumes from the cloak and gas mask to the yellow-and-purple outfit; Dian wore his costume while he was fighting elsewhere and she was killed in a fray. Dodds decided to wear the new costume, of Dian's design, until he could bring himself to wear the original in which she had died. Later, this explanation would be changed again when Dian Belmont was retconned to have never died, and a new explanation was given: Sandy convinced Dodds to switch to the more colorful costume to gain the support of regular people, who preferred the more traditional superhero look to his older, pulp-themed costume. An acclaimed film noir-inspired retelling of the original Sandman's adventures, Sandman Mystery Theatre, ran from 1993-1998 under DC Comics' Vertigo mature-reader imprint. Although as a whole its continuity within the DC Universe is debatable, several elements of the series - the more nuanced relationship between Dodds and Dian Belmont; the Sandman's appearance, (wearing a trench coat and World War I gas mask instead of the cape and the custom-made gas mask); and Dodds' pudgier appearance and wearing of glasses - have been adopted into regular continuity. The series ran for 70 issues and 1 annual. In Sandman Midnight Theatre (1995) a one-shot special by Neil Gaiman (author of the Modern Age supernatural series The Sandman), Matt Wagner (co-author of Sandman Mystery Theatre), and Teddy Kristiansen, depicts an interaction between the two characters, with the original visiting Great Britain and encountering the imprisoned Dream, the protagonist of Gaiman's series. A minor retcon by Gaiman suggested that Dodds' chosen identity was a result of Dream's absence from the realm the Dreaming, and that Dodds carries an aspect of that mystical realm. This explains Dodds' prophetic dreams. CANNOTANSWER

Question: Did Sandman belong to any groups or teams?
Answer: Justice League
Evander Holyfield

Context: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight on July 20, 1985, in Norfolk, Virginia. Holyfield won an eight-round decision over Booze. Evander went on to knock out Rick Myers in the first round on August 29 in Holyfield's hometown of Atlanta. On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis on December 21 in Virginia Beach, Virginia. He won by knocking out Davis in the fourth round. He began 1986 with a knockout in three rounds over former world cruiserweight challenger Chisanda Mutti, and proceeded to beat Jessy Shelby and Terry Mims before being given a world title try by the WBA Cruiserweight Champion Dwight Muhammad Qawi. In what was called by The Ring as the best cruiserweight bout of the 1980s, Holyfield became world champion by defeating Qawi by a narrow 15 round split decision. He culminated 1986 with a trip to Paris, France, where he beat Mike Brothers by a knockout in three, in a non-title bout. In 1987, he defended his title against former Olympic teammate and Gold medal winner Henry Tillman, who had beaten Mike Tyson twice as an amateur. He retained his belt, winning by seventh-round knockout, and then went on to unify his WBA belt with the IBF belt held by Ricky Parkey, knocking Parkey out in three rounds. For his next bout, he returned to France, where he retained the title with an eleven-round knockout against former world champion Ossie Ocasio. In his last fight of 1987, he offered Muhammad Qawi a rematch and, this time, he beat Qawi by a knockout in only four rounds. 1988 was another productive year for Holyfield; he started by becoming the first universally recognized World Cruiserweight Champion after defeating the Lineal & WBC Champion Carlos De Leon at Las Vegas. The fight was stopped after eight rounds. CANNOTANSWER

Question: Are there any other interesting aspects about this article on Evander Holyfield?
Answer: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight
Evander Holyfield

Context: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight on July 20, 1985, in Norfolk, Virginia. Holyfield won an eight-round decision over Booze. Evander went on to knock out Rick Myers in the first round on August 29 in Holyfield's hometown of Atlanta. On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis on December 21 in Virginia Beach, Virginia. He won by knocking out Davis in the fourth round. He began 1986 with a knockout in three rounds over former world cruiserweight challenger Chisanda Mutti, and proceeded to beat Jessy Shelby and Terry Mims before being given a world title try by the WBA Cruiserweight Champion Dwight Muhammad Qawi. In what was called by The Ring as the best cruiserweight bout of the 1980s, Holyfield became world champion by defeating Qawi by a narrow 15 round split decision. He culminated 1986 with a trip to Paris, France, where he beat Mike Brothers by a knockout in three, in a non-title bout. In 1987, he defended his title against former Olympic teammate and Gold medal winner Henry Tillman, who had beaten Mike Tyson twice as an amateur. He retained his belt, winning by seventh-round knockout, and then went on to unify his WBA belt with the IBF belt held by Ricky Parkey, knocking Parkey out in three rounds. For his next bout, he returned to France, where he retained the title with an eleven-round knockout against former world champion Ossie Ocasio. In his last fight of 1987, he offered Muhammad Qawi a rematch and, this time, he beat Qawi by a knockout in only four rounds. 1988 was another productive year for Holyfield; he started by becoming the first universally recognized World Cruiserweight Champion after defeating the Lineal & WBC Champion Carlos De Leon at Las Vegas. The fight was stopped after eight rounds. CANNOTANSWER

Question: Did we increase Evander Holyfield's weight?
Answer: CANNOTANSWER
Evander Holyfield

Context: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight on July 20, 1985, in Norfolk, Virginia. Holyfield won an eight-round decision over Booze. Evander went on to knock out Rick Myers in the first round on August 29 in Holyfield's hometown of Atlanta. On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis on December 21 in Virginia Beach, Virginia. He won by knocking out Davis in the fourth round. He began 1986 with a knockout in three rounds over former world cruiserweight challenger Chisanda Mutti, and proceeded to beat Jessy Shelby and Terry Mims before being given a world title try by the WBA Cruiserweight Champion Dwight Muhammad Qawi. In what was called by The Ring as the best cruiserweight bout of the 1980s, Holyfield became world champion by defeating Qawi by a narrow 15 round split decision. He culminated 1986 with a trip to Paris, France, where he beat Mike Brothers by a knockout in three, in a non-title bout. In 1987, he defended his title against former Olympic teammate and Gold medal winner Henry Tillman, who had beaten Mike Tyson twice as an amateur. He retained his belt, winning by seventh-round knockout, and then went on to unify his WBA belt with the IBF belt held by Ricky Parkey, knocking Parkey out in three rounds. For his next bout, he returned to France, where he retained the title with an eleven-round knockout against former world champion Ossie Ocasio. In his last fight of 1987, he offered Muhammad Qawi a rematch and, this time, he beat Qawi by a knockout in only four rounds. 1988 was another productive year for Holyfield; he started by becoming the first universally recognized World Cruiserweight Champion after defeating the Lineal & WBC Champion Carlos De Leon at Las Vegas. The fight was stopped after eight rounds. CANNOTANSWER

Question: Cruiserweight is defined as what?
Answer: CANNOTANSWER
Evander Holyfield

Context: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight on July 20, 1985, in Norfolk, Virginia. Holyfield won an eight-round decision over Booze. Evander went on to knock out Rick Myers in the first round on August 29 in Holyfield's hometown of Atlanta. On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis on December 21 in Virginia Beach, Virginia. He won by knocking out Davis in the fourth round. He began 1986 with a knockout in three rounds over former world cruiserweight challenger Chisanda Mutti, and proceeded to beat Jessy Shelby and Terry Mims before being given a world title try by the WBA Cruiserweight Champion Dwight Muhammad Qawi. In what was called by The Ring as the best cruiserweight bout of the 1980s, Holyfield became world champion by defeating Qawi by a narrow 15 round split decision. He culminated 1986 with a trip to Paris, France, where he beat Mike Brothers by a knockout in three, in a non-title bout. In 1987, he defended his title against former Olympic teammate and Gold medal winner Henry Tillman, who had beaten Mike Tyson twice as an amateur. He retained his belt, winning by seventh-round knockout, and then went on to unify his WBA belt with the IBF belt held by Ricky Parkey, knocking Parkey out in three rounds. For his next bout, he returned to France, where he retained the title with an eleven-round knockout against former world champion Ossie Ocasio. In his last fight of 1987, he offered Muhammad Qawi a rematch and, this time, he beat Qawi by a knockout in only four rounds. 1988 was another productive year for Holyfield; he started by becoming the first universally recognized World Cruiserweight Champion after defeating the Lineal & WBC Champion Carlos De Leon at Las Vegas. The fight was stopped after eight rounds. CANNOTANSWER

Question: Did Evander Holyfield win the fight against Tyrone Booze?
Answer: Holyfield won an eight-round decision over Booze.
Evander Holyfield

Context: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight on July 20, 1985, in Norfolk, Virginia. Holyfield won an eight-round decision over Booze. Evander went on to knock out Rick Myers in the first round on August 29 in Holyfield's hometown of Atlanta. On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis on December 21 in Virginia Beach, Virginia. He won by knocking out Davis in the fourth round. He began 1986 with a knockout in three rounds over former world cruiserweight challenger Chisanda Mutti, and proceeded to beat Jessy Shelby and Terry Mims before being given a world title try by the WBA Cruiserweight Champion Dwight Muhammad Qawi. In what was called by The Ring as the best cruiserweight bout of the 1980s, Holyfield became world champion by defeating Qawi by a narrow 15 round split decision. He culminated 1986 with a trip to Paris, France, where he beat Mike Brothers by a knockout in three, in a non-title bout. In 1987, he defended his title against former Olympic teammate and Gold medal winner Henry Tillman, who had beaten Mike Tyson twice as an amateur. He retained his belt, winning by seventh-round knockout, and then went on to unify his WBA belt with the IBF belt held by Ricky Parkey, knocking Parkey out in three rounds. For his next bout, he returned to France, where he retained the title with an eleven-round knockout against former world champion Ossie Ocasio. In his last fight of 1987, he offered Muhammad Qawi a rematch and, this time, he beat Qawi by a knockout in only four rounds. 1988 was another productive year for Holyfield; he started by becoming the first universally recognized World Cruiserweight Champion after defeating the Lineal & WBC Champion Carlos De Leon at Las Vegas. The fight was stopped after eight rounds. CANNOTANSWER

Question: How many rounds did the fight between Evander Holyfield and Tyrone Booze take?
Answer: On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis
Evander Holyfield

Context: Both he and his next opponent, Tyrone Booze, moved up to the cruiserweight division for their fight on July 20, 1985, in Norfolk, Virginia. Holyfield won an eight-round decision over Booze. Evander went on to knock out Rick Myers in the first round on August 29 in Holyfield's hometown of Atlanta. On October 30 in Atlantic City he knocked out opponent Jeff Meachem in five rounds, and his last fight for 1985 was against Anthony Davis on December 21 in Virginia Beach, Virginia. He won by knocking out Davis in the fourth round. He began 1986 with a knockout in three rounds over former world cruiserweight challenger Chisanda Mutti, and proceeded to beat Jessy Shelby and Terry Mims before being given a world title try by the WBA Cruiserweight Champion Dwight Muhammad Qawi. In what was called by The Ring as the best cruiserweight bout of the 1980s, Holyfield became world champion by defeating Qawi by a narrow 15 round split decision. He culminated 1986 with a trip to Paris, France, where he beat Mike Brothers by a knockout in three, in a non-title bout. In 1987, he defended his title against former Olympic teammate and Gold medal winner Henry Tillman, who had beaten Mike Tyson twice as an amateur. He retained his belt, winning by seventh-round knockout, and then went on to unify his WBA belt with the IBF belt held by Ricky Parkey, knocking Parkey out in three rounds. For his next bout, he returned to France, where he retained the title with an eleven-round knockout against former world champion Ossie Ocasio. In his last fight of 1987, he offered Muhammad Qawi a rematch and, this time, he beat Qawi by a knockout in only four rounds. 1988 was another productive year for Holyfield; he started by becoming the first universally recognized World Cruiserweight Champion after defeating the Lineal & WBC Champion Carlos De Leon at Las Vegas. The fight was stopped after eight rounds. CANNOTANSWER

Question: Was there a rematch between Evander Holyfield and Tyrone Booze?
Answer: CANNOTANSWER
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: What is something interesting about Bob Clampett's later career?
Answer: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them.
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: How did Bob Clampett's show, Time for Beany do?
Answer: The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys.
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: Was Time for Beany successful?
Answer: would earn Clampett three Emmys.
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: Besides Time for Beany, what else did Bob Clampett create for television?
Answer: In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: When did Bob Clampett create the Thunderbolt the Wondercolt television series?
Answer: 1952,
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: Which production company was Bob Clampett working with?
Answer: Screen Gems
Bob Clampett

Context: In 1946 after Warner Bros. bought out Leon Schlesinger, his key executives Henry Binder and Ray Katz went to Screen Gems and took Clampett with them. Clampett worked for a time at Screen Gems, then the cartoon division of Columbia Pictures, as a screenwriter and gag writer. In 1947 Republic Pictures incorporated animation (by Walter Lantz) into its Gene Autry feature film Sioux City Sue. It turned out well enough for Republic to dabble in animated cartoons; Bob Clampett directed a single cartoon, It's a Grand Old Nag, featuring the equine character Charlie Horse. Republic management, however, had second thoughts due to dwindling profits, and discontinued the series. Clampett took his direction credit under the name "Kilroy". In 1949, Clampett turned his attentions to television, where he created the famous puppet show Time for Beany. The show, featuring the talents of voice artists Stan Freberg and Daws Butler, would earn Clampett three Emmys. Groucho Marx and Albert Einstein were both fans of the series. In 1952, he created the Thunderbolt the Wondercolt television series and the 3D prologue to Bwana Devil featuring Beany and Cecil. In 1954, he directed Willy the Wolf (the first puppet variety show on television), as well as creating and voicing the lead in the Buffalo Billy television show. In the late 1950s, Clampett was hired by Associated Artists Productions to catalog the pre-August 1948 Warner cartoons it had just acquired. He also created an animated version of the puppet show called Beany and Cecil, whose 26 half-hour episodes were first broadcast on ABC in 1962 and were rerun on the network for five years. In his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. In 1975 he was the focus of a documentary entitled Bugs Bunny: Superstar, the first documentary to examine the history of the Warner Bros. cartoons. Clampett, whose collection of drawings, films, and memorabilia from the golden days of Termite Terrace was legendary, provided nearly all of the behind-the-scenes drawings and home-movie footage for the film; furthermore, his wife, Sody Clampett, is credited as the film's production co-ordinator. In an audio commentary recorded for Bugs Bunny: Superstar, director Larry Jackson claimed that in order to secure Clampett's participation, and access to Clampett's collection of Warners history, he had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut. Jackson also claimed that Clampett was very reluctant speaking about the other directors and their contributions. Clampett died of a heart attack on May 2, 1984 in Detroit, Michigan, six days before his 71st birthday, while touring the country to promote the home video release of Beany & Cecil cartoons. He is buried in Forest Lawn Hollywood Hills. CANNOTANSWER

Question: Did Bob Clampett stay with Associated Artists Productions for long?
Answer: CANNOTANSWER
Bob Clampett

Context: Since 1984, The Bob Clampett Humanitarian Award is given each year at the Eisner Awards. Recipients of the award include June Foray, Jack Kirby, Sergio Aragones, Patrick McDonnell, Maggie Thompson, Ray Bradbury and Mark Evanier. Clampett's Tin Pan Alley Cats (1943) was chosen by the Library of Congress as a "prime example of the music and mores of our times" and a print was buried in a time capsule in Washington, D.C. so future generations might see it. Porky in Wackyland (1938) was inducted into the National Film Registry of the Library of Congress in 2000, deemed "culturally, historically, or aesthetically significant." John Kricfalusi, best known as the creator of The Ren & Stimpy Show, got to know Clampett in his later years and has reflected on those times as inspirational. Kricfalusi calls Clampett his favorite cartoon director and calls The Great Piggy Bank Robbery (1946) his favorite cartoon: "I saw this thing and it completely changed my life, I thought it was the greatest thing I'd ever seen, and I still think it is." Animation historian Leonard Maltin has called Clampett's cartoons "unmistakable." Milton Gray believes that Schlesinger put Clampett in charge of the black and white cartoon division in order to save it, and many historians have singled out a scene in Porky's Duck Hunt in which Daffy exits as a defining Clampett moment. Maltin called it "a level of wackiness few moviegoers had ever seen." Historian Charles Solomon noted a rubbery, flexible animation quality visible in all Clampett's shorts, and Maltin noted an "energetic, comic anarchy." While Clampett's cartoons were not as well known in the latter half of the 20th century because television syndicators only had the rights to the post-1948 Warner cartoons, his creations have increased in notoriety and acclaim in recent decades. CANNOTANSWER

Question: What was Bob Clampett's legacy?
Answer: Clampett's Tin Pan Alley Cats (1943) was chosen by the Library of Congress as a "prime example of the music and mores of our times"
Bob Clampett

Context: Since 1984, The Bob Clampett Humanitarian Award is given each year at the Eisner Awards. Recipients of the award include June Foray, Jack Kirby, Sergio Aragones, Patrick McDonnell, Maggie Thompson, Ray Bradbury and Mark Evanier. Clampett's Tin Pan Alley Cats (1943) was chosen by the Library of Congress as a "prime example of the music and mores of our times" and a print was buried in a time capsule in Washington, D.C. so future generations might see it. Porky in Wackyland (1938) was inducted into the National Film Registry of the Library of Congress in 2000, deemed "culturally, historically, or aesthetically significant." John Kricfalusi, best known as the creator of The Ren & Stimpy Show, got to know Clampett in his later years and has reflected on those times as inspirational. Kricfalusi calls Clampett his favorite cartoon director and calls The Great Piggy Bank Robbery (1946) his favorite cartoon: "I saw this thing and it completely changed my life, I thought it was the greatest thing I'd ever seen, and I still think it is." Animation historian Leonard Maltin has called Clampett's cartoons "unmistakable." Milton Gray believes that Schlesinger put Clampett in charge of the black and white cartoon division in order to save it, and many historians have singled out a scene in Porky's Duck Hunt in which Daffy exits as a defining Clampett moment. Maltin called it "a level of wackiness few moviegoers had ever seen." Historian Charles Solomon noted a rubbery, flexible animation quality visible in all Clampett's shorts, and Maltin noted an "energetic, comic anarchy." While Clampett's cartoons were not as well known in the latter half of the 20th century because television syndicators only had the rights to the post-1948 Warner cartoons, his creations have increased in notoriety and acclaim in recent decades. CANNOTANSWER

Question: Besides Bob's legacy, who won The Bob Clampett Humanitarian Award?
Answer: Maggie Thompson, Ray Bradbury
Bob Clampett

Context: Since 1984, The Bob Clampett Humanitarian Award is given each year at the Eisner Awards. Recipients of the award include June Foray, Jack Kirby, Sergio Aragones, Patrick McDonnell, Maggie Thompson, Ray Bradbury and Mark Evanier. Clampett's Tin Pan Alley Cats (1943) was chosen by the Library of Congress as a "prime example of the music and mores of our times" and a print was buried in a time capsule in Washington, D.C. so future generations might see it. Porky in Wackyland (1938) was inducted into the National Film Registry of the Library of Congress in 2000, deemed "culturally, historically, or aesthetically significant." John Kricfalusi, best known as the creator of The Ren & Stimpy Show, got to know Clampett in his later years and has reflected on those times as inspirational. Kricfalusi calls Clampett his favorite cartoon director and calls The Great Piggy Bank Robbery (1946) his favorite cartoon: "I saw this thing and it completely changed my life, I thought it was the greatest thing I'd ever seen, and I still think it is." Animation historian Leonard Maltin has called Clampett's cartoons "unmistakable." Milton Gray believes that Schlesinger put Clampett in charge of the black and white cartoon division in order to save it, and many historians have singled out a scene in Porky's Duck Hunt in which Daffy exits as a defining Clampett moment. Maltin called it "a level of wackiness few moviegoers had ever seen." Historian Charles Solomon noted a rubbery, flexible animation quality visible in all Clampett's shorts, and Maltin noted an "energetic, comic anarchy." While Clampett's cartoons were not as well known in the latter half of the 20th century because television syndicators only had the rights to the post-1948 Warner cartoons, his creations have increased in notoriety and acclaim in recent decades. CANNOTANSWER

Question: In addition to his legacy, Did Bob Clampett receive any other awards?
Answer: Porky in Wackyland (1938) was inducted into the National Film Registry of the Library of Congress in 2000, deemed "culturally, historically, or aesthetically significant."
Bob Clampett

Context: Since 1984, The Bob Clampett Humanitarian Award is given each year at the Eisner Awards. Recipients of the award include June Foray, Jack Kirby, Sergio Aragones, Patrick McDonnell, Maggie Thompson, Ray Bradbury and Mark Evanier. Clampett's Tin Pan Alley Cats (1943) was chosen by the Library of Congress as a "prime example of the music and mores of our times" and a print was buried in a time capsule in Washington, D.C. so future generations might see it. Porky in Wackyland (1938) was inducted into the National Film Registry of the Library of Congress in 2000, deemed "culturally, historically, or aesthetically significant." John Kricfalusi, best known as the creator of The Ren & Stimpy Show, got to know Clampett in his later years and has reflected on those times as inspirational. Kricfalusi calls Clampett his favorite cartoon director and calls The Great Piggy Bank Robbery (1946) his favorite cartoon: "I saw this thing and it completely changed my life, I thought it was the greatest thing I'd ever seen, and I still think it is." Animation historian Leonard Maltin has called Clampett's cartoons "unmistakable." Milton Gray believes that Schlesinger put Clampett in charge of the black and white cartoon division in order to save it, and many historians have singled out a scene in Porky's Duck Hunt in which Daffy exits as a defining Clampett moment. Maltin called it "a level of wackiness few moviegoers had ever seen." Historian Charles Solomon noted a rubbery, flexible animation quality visible in all Clampett's shorts, and Maltin noted an "energetic, comic anarchy." While Clampett's cartoons were not as well known in the latter half of the 20th century because television syndicators only had the rights to the post-1948 Warner cartoons, his creations have increased in notoriety and acclaim in recent decades. CANNOTANSWER

Question: Besides being chosen for the Library of Congress, did Bob Clampett win any other awards?
Answer: CANNOTANSWER
Bob Clampett

Context: Since 1984, The Bob Clampett Humanitarian Award is given each year at the Eisner Awards. Recipients of the award include June Foray, Jack Kirby, Sergio Aragones, Patrick McDonnell, Maggie Thompson, Ray Bradbury and Mark Evanier. Clampett's Tin Pan Alley Cats (1943) was chosen by the Library of Congress as a "prime example of the music and mores of our times" and a print was buried in a time capsule in Washington, D.C. so future generations might see it. Porky in Wackyland (1938) was inducted into the National Film Registry of the Library of Congress in 2000, deemed "culturally, historically, or aesthetically significant." John Kricfalusi, best known as the creator of The Ren & Stimpy Show, got to know Clampett in his later years and has reflected on those times as inspirational. Kricfalusi calls Clampett his favorite cartoon director and calls The Great Piggy Bank Robbery (1946) his favorite cartoon: "I saw this thing and it completely changed my life, I thought it was the greatest thing I'd ever seen, and I still think it is." Animation historian Leonard Maltin has called Clampett's cartoons "unmistakable." Milton Gray believes that Schlesinger put Clampett in charge of the black and white cartoon division in order to save it, and many historians have singled out a scene in Porky's Duck Hunt in which Daffy exits as a defining Clampett moment. Maltin called it "a level of wackiness few moviegoers had ever seen." Historian Charles Solomon noted a rubbery, flexible animation quality visible in all Clampett's shorts, and Maltin noted an "energetic, comic anarchy." While Clampett's cartoons were not as well known in the latter half of the 20th century because television syndicators only had the rights to the post-1948 Warner cartoons, his creations have increased in notoriety and acclaim in recent decades. CANNOTANSWER

Question: When will the capsule be opened?
Answer: CANNOTANSWER