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

Context: Rush has released 24 gold records and 14 platinum records (including 3 multi-platinum), placing them third behind the Beatles and the Rolling Stones for the most consecutive gold or platinum studio albums by a rock band. As of 2005, Rush had sold about 25 million albums in the U.S. (ranking them 79th among recording acts) and 40 million worldwide. As of 2012, Moving Pictures was the band's highest-selling album (4.4 million units). Despite dropping out of the public eye for five years after the gold-selling Test for Echo (which peaked at No. 5 on the Billboard 200 chart) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached No. 6 on the Billboard 200 in its first week of release in 2002 with 108,000 albums sold. It has sold about 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show: 60,000 fans in Sao Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status in the U.S. Rush's triple-CD live album, Rush in Rio (2003), was certified gold, marking the fourth decade in which a Rush album had been released and certified at least gold. In 2004, Feedback cracked the top 20 on the Billboard 200 and received radio airplay. The band's 2007 album, Snakes & Arrows, debuted at number 3 (just one position shy of Rush's highest peaking albums, Counterparts (1993) and Clockwork Angels (2012), which both debuted at number 2) on the Billboard 200, selling about 93,000 its first week of release. This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart. The album also debuted at number 1 on the Billboard's Top Rock Albums chart, and, when the album was released on the MVI format a month later, peaked at number 1 on the Top Internet Albums chart. The tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the summers' rock concerts. CANNOTANSWER

Question: What did Rush place 3rd in?
Answer: for the most consecutive gold or platinum studio albums by a rock band.
Rush (band)

Context: Rush has released 24 gold records and 14 platinum records (including 3 multi-platinum), placing them third behind the Beatles and the Rolling Stones for the most consecutive gold or platinum studio albums by a rock band. As of 2005, Rush had sold about 25 million albums in the U.S. (ranking them 79th among recording acts) and 40 million worldwide. As of 2012, Moving Pictures was the band's highest-selling album (4.4 million units). Despite dropping out of the public eye for five years after the gold-selling Test for Echo (which peaked at No. 5 on the Billboard 200 chart) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached No. 6 on the Billboard 200 in its first week of release in 2002 with 108,000 albums sold. It has sold about 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show: 60,000 fans in Sao Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status in the U.S. Rush's triple-CD live album, Rush in Rio (2003), was certified gold, marking the fourth decade in which a Rush album had been released and certified at least gold. In 2004, Feedback cracked the top 20 on the Billboard 200 and received radio airplay. The band's 2007 album, Snakes & Arrows, debuted at number 3 (just one position shy of Rush's highest peaking albums, Counterparts (1993) and Clockwork Angels (2012), which both debuted at number 2) on the Billboard 200, selling about 93,000 its first week of release. This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart. The album also debuted at number 1 on the Billboard's Top Rock Albums chart, and, when the album was released on the MVI format a month later, peaked at number 1 on the Top Internet Albums chart. The tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the summers' rock concerts. CANNOTANSWER

Question: Did Rush have any albums that did well?
Answer: As of 2012, Moving Pictures was the band's highest-selling album (4.4 million units).
Rush (band)

Context: Rush has released 24 gold records and 14 platinum records (including 3 multi-platinum), placing them third behind the Beatles and the Rolling Stones for the most consecutive gold or platinum studio albums by a rock band. As of 2005, Rush had sold about 25 million albums in the U.S. (ranking them 79th among recording acts) and 40 million worldwide. As of 2012, Moving Pictures was the band's highest-selling album (4.4 million units). Despite dropping out of the public eye for five years after the gold-selling Test for Echo (which peaked at No. 5 on the Billboard 200 chart) and the band being relegated almost solely to classic rock stations in the U.S., Vapor Trails reached No. 6 on the Billboard 200 in its first week of release in 2002 with 108,000 albums sold. It has sold about 343,000 units to date. The subsequent Vapor Trails tour grossed over $24 million and included the largest audience ever to see a headlining Rush show: 60,000 fans in Sao Paulo, Brazil. Nevertheless, Vapor Trails remains their first album not to achieve at least gold status in the U.S. Rush's triple-CD live album, Rush in Rio (2003), was certified gold, marking the fourth decade in which a Rush album had been released and certified at least gold. In 2004, Feedback cracked the top 20 on the Billboard 200 and received radio airplay. The band's 2007 album, Snakes & Arrows, debuted at number 3 (just one position shy of Rush's highest peaking albums, Counterparts (1993) and Clockwork Angels (2012), which both debuted at number 2) on the Billboard 200, selling about 93,000 its first week of release. This marks the 13th studio album to appear in the Top 20 and the band's 27th album to appear on the chart. The album also debuted at number 1 on the Billboard's Top Rock Albums chart, and, when the album was released on the MVI format a month later, peaked at number 1 on the Top Internet Albums chart. The tours in support of Snakes & Arrows in 2007 and 2008 accrued $21 million and $18.3 million, respectively, earning Rush the number 6 and 8 spots among the summers' rock concerts. CANNOTANSWER

Question: Besides Test for Echo, any other albums that did well?
Answer: Vapor Trails reached No. 6 on the Billboard 200 in its first week of release in 2002 with 108,000 albums sold. It has sold about 343,000 units to date.
Northern Dancer

Context: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common, especially in Europe and Australia. Whenever this happens, there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression. Statistical studies have shown that inbreeding has increased by a small but significant amount in the last 50 years, partly because of the larger number of foals that a successful stallion will now sire each year compared to in the past. To illustrate this last point, Northern Dancer produced 645 foals in 20 years at stud, whereas his grandson Danehill sired 2,499 foals in 14 years at stud. Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree (referred to as an outcross). However, many successful stallions are inbred, in part because this can make it easier to pass on dominant characteristics. Notable sires that are inbred to Northern Dancer (within four generations) include Oasis Dream, Rock of Gibraltar, Hernando, Spinning World, and Redoute's Choice. The undefeated Frankel is also inbred to Northern Dancer, but it is too early to evaluate his success as a stallion as his first crop just reached racing age in 2016. Analysis of inbreeding to Northern Dancer has shown that best practice is inbreeding "through" the best, which means to use horses that have demonstrated their fitness on the racecourse. In contrast, inbreeding to a descendant such as Danzig is viewed as potentially problematic because he was retired from racing due to unsoundness after only three starts. However, Danzig line horses have been crossed successfully with other Northern Dancer line horses, especially Sadlers' Wells. Outcross bloodlines can still be found, most notably via the German-bred stallion Monsun. Northern Dancer lines were originally outcrossed on descendants of Mr. Prospector or Nasrullah, but this had been done to such as extent that it is increasingly difficult to find horses from these lines without some trace of Northern Dancer breeding. In North America, Northern Dancer often appears further back in the pedigree of major stallions, which reduces the risks associated with inbreeding. For example, Tapit, the leading sire in North America for 2014-2015, is inbred to Nijinsky 3 x 5 (thus only 4 x 6 to Northern Dancer) and has crossed well with mares from other Northern Dancer lines. CANNOTANSWER

Question: Are there any interesting aspects about Northern Dancer?
Answer: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common,
Northern Dancer

Context: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common, especially in Europe and Australia. Whenever this happens, there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression. Statistical studies have shown that inbreeding has increased by a small but significant amount in the last 50 years, partly because of the larger number of foals that a successful stallion will now sire each year compared to in the past. To illustrate this last point, Northern Dancer produced 645 foals in 20 years at stud, whereas his grandson Danehill sired 2,499 foals in 14 years at stud. Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree (referred to as an outcross). However, many successful stallions are inbred, in part because this can make it easier to pass on dominant characteristics. Notable sires that are inbred to Northern Dancer (within four generations) include Oasis Dream, Rock of Gibraltar, Hernando, Spinning World, and Redoute's Choice. The undefeated Frankel is also inbred to Northern Dancer, but it is too early to evaluate his success as a stallion as his first crop just reached racing age in 2016. Analysis of inbreeding to Northern Dancer has shown that best practice is inbreeding "through" the best, which means to use horses that have demonstrated their fitness on the racecourse. In contrast, inbreeding to a descendant such as Danzig is viewed as potentially problematic because he was retired from racing due to unsoundness after only three starts. However, Danzig line horses have been crossed successfully with other Northern Dancer line horses, especially Sadlers' Wells. Outcross bloodlines can still be found, most notably via the German-bred stallion Monsun. Northern Dancer lines were originally outcrossed on descendants of Mr. Prospector or Nasrullah, but this had been done to such as extent that it is increasingly difficult to find horses from these lines without some trace of Northern Dancer breeding. In North America, Northern Dancer often appears further back in the pedigree of major stallions, which reduces the risks associated with inbreeding. For example, Tapit, the leading sire in North America for 2014-2015, is inbred to Nijinsky 3 x 5 (thus only 4 x 6 to Northern Dancer) and has crossed well with mares from other Northern Dancer lines. CANNOTANSWER

Question: How did inbreeding hurt the Northern Dancer horses?
Answer: there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression.
Northern Dancer

Context: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common, especially in Europe and Australia. Whenever this happens, there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression. Statistical studies have shown that inbreeding has increased by a small but significant amount in the last 50 years, partly because of the larger number of foals that a successful stallion will now sire each year compared to in the past. To illustrate this last point, Northern Dancer produced 645 foals in 20 years at stud, whereas his grandson Danehill sired 2,499 foals in 14 years at stud. Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree (referred to as an outcross). However, many successful stallions are inbred, in part because this can make it easier to pass on dominant characteristics. Notable sires that are inbred to Northern Dancer (within four generations) include Oasis Dream, Rock of Gibraltar, Hernando, Spinning World, and Redoute's Choice. The undefeated Frankel is also inbred to Northern Dancer, but it is too early to evaluate his success as a stallion as his first crop just reached racing age in 2016. Analysis of inbreeding to Northern Dancer has shown that best practice is inbreeding "through" the best, which means to use horses that have demonstrated their fitness on the racecourse. In contrast, inbreeding to a descendant such as Danzig is viewed as potentially problematic because he was retired from racing due to unsoundness after only three starts. However, Danzig line horses have been crossed successfully with other Northern Dancer line horses, especially Sadlers' Wells. Outcross bloodlines can still be found, most notably via the German-bred stallion Monsun. Northern Dancer lines were originally outcrossed on descendants of Mr. Prospector or Nasrullah, but this had been done to such as extent that it is increasingly difficult to find horses from these lines without some trace of Northern Dancer breeding. In North America, Northern Dancer often appears further back in the pedigree of major stallions, which reduces the risks associated with inbreeding. For example, Tapit, the leading sire in North America for 2014-2015, is inbred to Nijinsky 3 x 5 (thus only 4 x 6 to Northern Dancer) and has crossed well with mares from other Northern Dancer lines. CANNOTANSWER

Question: Was Northern Dancer bred with his chrildren?
Answer: slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree
Northern Dancer

Context: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common, especially in Europe and Australia. Whenever this happens, there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression. Statistical studies have shown that inbreeding has increased by a small but significant amount in the last 50 years, partly because of the larger number of foals that a successful stallion will now sire each year compared to in the past. To illustrate this last point, Northern Dancer produced 645 foals in 20 years at stud, whereas his grandson Danehill sired 2,499 foals in 14 years at stud. Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree (referred to as an outcross). However, many successful stallions are inbred, in part because this can make it easier to pass on dominant characteristics. Notable sires that are inbred to Northern Dancer (within four generations) include Oasis Dream, Rock of Gibraltar, Hernando, Spinning World, and Redoute's Choice. The undefeated Frankel is also inbred to Northern Dancer, but it is too early to evaluate his success as a stallion as his first crop just reached racing age in 2016. Analysis of inbreeding to Northern Dancer has shown that best practice is inbreeding "through" the best, which means to use horses that have demonstrated their fitness on the racecourse. In contrast, inbreeding to a descendant such as Danzig is viewed as potentially problematic because he was retired from racing due to unsoundness after only three starts. However, Danzig line horses have been crossed successfully with other Northern Dancer line horses, especially Sadlers' Wells. Outcross bloodlines can still be found, most notably via the German-bred stallion Monsun. Northern Dancer lines were originally outcrossed on descendants of Mr. Prospector or Nasrullah, but this had been done to such as extent that it is increasingly difficult to find horses from these lines without some trace of Northern Dancer breeding. In North America, Northern Dancer often appears further back in the pedigree of major stallions, which reduces the risks associated with inbreeding. For example, Tapit, the leading sire in North America for 2014-2015, is inbred to Nijinsky 3 x 5 (thus only 4 x 6 to Northern Dancer) and has crossed well with mares from other Northern Dancer lines. CANNOTANSWER

Question: Were there any issues with the breeding of Northern Dancer?
Answer: Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective
Northern Dancer

Context: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common, especially in Europe and Australia. Whenever this happens, there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression. Statistical studies have shown that inbreeding has increased by a small but significant amount in the last 50 years, partly because of the larger number of foals that a successful stallion will now sire each year compared to in the past. To illustrate this last point, Northern Dancer produced 645 foals in 20 years at stud, whereas his grandson Danehill sired 2,499 foals in 14 years at stud. Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree (referred to as an outcross). However, many successful stallions are inbred, in part because this can make it easier to pass on dominant characteristics. Notable sires that are inbred to Northern Dancer (within four generations) include Oasis Dream, Rock of Gibraltar, Hernando, Spinning World, and Redoute's Choice. The undefeated Frankel is also inbred to Northern Dancer, but it is too early to evaluate his success as a stallion as his first crop just reached racing age in 2016. Analysis of inbreeding to Northern Dancer has shown that best practice is inbreeding "through" the best, which means to use horses that have demonstrated their fitness on the racecourse. In contrast, inbreeding to a descendant such as Danzig is viewed as potentially problematic because he was retired from racing due to unsoundness after only three starts. However, Danzig line horses have been crossed successfully with other Northern Dancer line horses, especially Sadlers' Wells. Outcross bloodlines can still be found, most notably via the German-bred stallion Monsun. Northern Dancer lines were originally outcrossed on descendants of Mr. Prospector or Nasrullah, but this had been done to such as extent that it is increasingly difficult to find horses from these lines without some trace of Northern Dancer breeding. In North America, Northern Dancer often appears further back in the pedigree of major stallions, which reduces the risks associated with inbreeding. For example, Tapit, the leading sire in North America for 2014-2015, is inbred to Nijinsky 3 x 5 (thus only 4 x 6 to Northern Dancer) and has crossed well with mares from other Northern Dancer lines. CANNOTANSWER

Question: When did Northern Dancer retire from breeding?
Answer: CANNOTANSWER
Northern Dancer

Context: Because of the prevalence of Northern Dancer's bloodline, a certain degree of inbreeding to him is becoming common, especially in Europe and Australia. Whenever this happens, there is a concern that the inbreeding will weaken the breed, making horses more prone to injury and potentially leading to inbreeding depression. Statistical studies have shown that inbreeding has increased by a small but significant amount in the last 50 years, partly because of the larger number of foals that a successful stallion will now sire each year compared to in the past. To illustrate this last point, Northern Dancer produced 645 foals in 20 years at stud, whereas his grandson Danehill sired 2,499 foals in 14 years at stud. Statistical analysis has shown that inbreeding to Northern Dancer is on average slightly less effective than when stallions of his line are bred to mares who do not have Northern Dancer in their pedigree (referred to as an outcross). However, many successful stallions are inbred, in part because this can make it easier to pass on dominant characteristics. Notable sires that are inbred to Northern Dancer (within four generations) include Oasis Dream, Rock of Gibraltar, Hernando, Spinning World, and Redoute's Choice. The undefeated Frankel is also inbred to Northern Dancer, but it is too early to evaluate his success as a stallion as his first crop just reached racing age in 2016. Analysis of inbreeding to Northern Dancer has shown that best practice is inbreeding "through" the best, which means to use horses that have demonstrated their fitness on the racecourse. In contrast, inbreeding to a descendant such as Danzig is viewed as potentially problematic because he was retired from racing due to unsoundness after only three starts. However, Danzig line horses have been crossed successfully with other Northern Dancer line horses, especially Sadlers' Wells. Outcross bloodlines can still be found, most notably via the German-bred stallion Monsun. Northern Dancer lines were originally outcrossed on descendants of Mr. Prospector or Nasrullah, but this had been done to such as extent that it is increasingly difficult to find horses from these lines without some trace of Northern Dancer breeding. In North America, Northern Dancer often appears further back in the pedigree of major stallions, which reduces the risks associated with inbreeding. For example, Tapit, the leading sire in North America for 2014-2015, is inbred to Nijinsky 3 x 5 (thus only 4 x 6 to Northern Dancer) and has crossed well with mares from other Northern Dancer lines. CANNOTANSWER

Question: How often was Northern Dancer bred?
Answer: Northern Dancer produced 645 foals in 20 years at stud,
Babrak Karmal

Context: In March 1979, the military budget was 6.4 million US$, which was 8.3 percent of the government budget, but only 2.2 of gross national product. After the Soviet intervention, the defence budget increased to 208 million US$ in 1980, and 325 million US$ by 1981. In 1982 it was reported that the government spent around 22 percent of total expenditure. When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily. The change from a political to a military solution did not come suddenly. It began in January 1981, as Karmal doubled wages for military personnel, issued several promotions, and decorated one general and thirteen colonels. The draft age was lowered, the obligatory length of arms duty was extended and the age for reservists was increased to thirty-five years of age. In June 1981, Assadullah Sarwari lost his seat in the PDPA Politburo, replaced by Mohammad Aslam Watanjar, a former tank commander and Minister of Communications, Major General Mohammad Rafi was madeMinister of Defence and Mohammad Najibullah appointed KHAD Chairman. These measures were introduced due to the collapse of the army during the Soviet intervention. Before the invasion the army could field 100,000 troops, after the invasion only 25,000. Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition. To better organize the military, seven military zones were established, each with its own Defence Council. The Defence Councils were established at the national, provincial and district level to empower the local PDPA. It is estimated that the Afghan government spent as much as 40 percent of government revenue on defense. CANNOTANSWER

Question: What is some important information to know about the civil war and military?
Answer: When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily.
Babrak Karmal

Context: In March 1979, the military budget was 6.4 million US$, which was 8.3 percent of the government budget, but only 2.2 of gross national product. After the Soviet intervention, the defence budget increased to 208 million US$ in 1980, and 325 million US$ by 1981. In 1982 it was reported that the government spent around 22 percent of total expenditure. When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily. The change from a political to a military solution did not come suddenly. It began in January 1981, as Karmal doubled wages for military personnel, issued several promotions, and decorated one general and thirteen colonels. The draft age was lowered, the obligatory length of arms duty was extended and the age for reservists was increased to thirty-five years of age. In June 1981, Assadullah Sarwari lost his seat in the PDPA Politburo, replaced by Mohammad Aslam Watanjar, a former tank commander and Minister of Communications, Major General Mohammad Rafi was madeMinister of Defence and Mohammad Najibullah appointed KHAD Chairman. These measures were introduced due to the collapse of the army during the Soviet intervention. Before the invasion the army could field 100,000 troops, after the invasion only 25,000. Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition. To better organize the military, seven military zones were established, each with its own Defence Council. The Defence Councils were established at the national, provincial and district level to empower the local PDPA. It is estimated that the Afghan government spent as much as 40 percent of government revenue on defense. CANNOTANSWER

Question: Besides the military budget, what other information is important to know about the civil war and military??
Answer: Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition.
Babrak Karmal

Context: In March 1979, the military budget was 6.4 million US$, which was 8.3 percent of the government budget, but only 2.2 of gross national product. After the Soviet intervention, the defence budget increased to 208 million US$ in 1980, and 325 million US$ by 1981. In 1982 it was reported that the government spent around 22 percent of total expenditure. When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily. The change from a political to a military solution did not come suddenly. It began in January 1981, as Karmal doubled wages for military personnel, issued several promotions, and decorated one general and thirteen colonels. The draft age was lowered, the obligatory length of arms duty was extended and the age for reservists was increased to thirty-five years of age. In June 1981, Assadullah Sarwari lost his seat in the PDPA Politburo, replaced by Mohammad Aslam Watanjar, a former tank commander and Minister of Communications, Major General Mohammad Rafi was madeMinister of Defence and Mohammad Najibullah appointed KHAD Chairman. These measures were introduced due to the collapse of the army during the Soviet intervention. Before the invasion the army could field 100,000 troops, after the invasion only 25,000. Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition. To better organize the military, seven military zones were established, each with its own Defence Council. The Defence Councils were established at the national, provincial and district level to empower the local PDPA. It is estimated that the Afghan government spent as much as 40 percent of government revenue on defense. CANNOTANSWER

Question: Was any controversy involved in the increment of the defence budget?
Answer: Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition.
Babrak Karmal

Context: In March 1979, the military budget was 6.4 million US$, which was 8.3 percent of the government budget, but only 2.2 of gross national product. After the Soviet intervention, the defence budget increased to 208 million US$ in 1980, and 325 million US$ by 1981. In 1982 it was reported that the government spent around 22 percent of total expenditure. When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily. The change from a political to a military solution did not come suddenly. It began in January 1981, as Karmal doubled wages for military personnel, issued several promotions, and decorated one general and thirteen colonels. The draft age was lowered, the obligatory length of arms duty was extended and the age for reservists was increased to thirty-five years of age. In June 1981, Assadullah Sarwari lost his seat in the PDPA Politburo, replaced by Mohammad Aslam Watanjar, a former tank commander and Minister of Communications, Major General Mohammad Rafi was madeMinister of Defence and Mohammad Najibullah appointed KHAD Chairman. These measures were introduced due to the collapse of the army during the Soviet intervention. Before the invasion the army could field 100,000 troops, after the invasion only 25,000. Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition. To better organize the military, seven military zones were established, each with its own Defence Council. The Defence Councils were established at the national, provincial and district level to empower the local PDPA. It is estimated that the Afghan government spent as much as 40 percent of government revenue on defense. CANNOTANSWER

Question: Aside from the military budget and government spending, are there any other interesting aspects about this article?
Answer: When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily.
Babrak Karmal

Context: In March 1979, the military budget was 6.4 million US$, which was 8.3 percent of the government budget, but only 2.2 of gross national product. After the Soviet intervention, the defence budget increased to 208 million US$ in 1980, and 325 million US$ by 1981. In 1982 it was reported that the government spent around 22 percent of total expenditure. When the political solution failed (see "PDPA base" section), the Afghan government and the Soviet military decided to solve the conflict militarily. The change from a political to a military solution did not come suddenly. It began in January 1981, as Karmal doubled wages for military personnel, issued several promotions, and decorated one general and thirteen colonels. The draft age was lowered, the obligatory length of arms duty was extended and the age for reservists was increased to thirty-five years of age. In June 1981, Assadullah Sarwari lost his seat in the PDPA Politburo, replaced by Mohammad Aslam Watanjar, a former tank commander and Minister of Communications, Major General Mohammad Rafi was madeMinister of Defence and Mohammad Najibullah appointed KHAD Chairman. These measures were introduced due to the collapse of the army during the Soviet intervention. Before the invasion the army could field 100,000 troops, after the invasion only 25,000. Desertions were pandemic, and the recruitment campaigns for young people often drove them to the opposition. To better organize the military, seven military zones were established, each with its own Defence Council. The Defence Councils were established at the national, provincial and district level to empower the local PDPA. It is estimated that the Afghan government spent as much as 40 percent of government revenue on defense. CANNOTANSWER

Question: How did the Afghan government and the Soviet military go about solving the conflict?
Answer: It began in January 1981, as Karmal doubled wages for military personnel, issued several promotions,
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: When was Chapin born?
Answer: CANNOTANSWER
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: Other than Chapin, are there any other interesting aspects about this article?
Answer: Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: Who was Chapin  parents?
Answer: His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist.
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: How old was Chapin?
Answer: CANNOTANSWER
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: In addition to Chapin's brothers, what else do you know about Chapin?
Answer: Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums.
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: What was Chapin's brothers name?
Answer: Tom and Steve.
Harry Chapin

Context: Chapin was born in New York City, the second of four children, who also included future musicians Tom and Steve. His parents were Jeanne Elspeth (nee Burke) and Jim Chapin, a legendary percussionist. He had English ancestry. The earliest Chapin to come to America was Samuel Chapin, who was the first deacon of Springfield, Massachusetts in 1636. His other great-grandparents on his mothers side had immigrated in the late 19th century. His parents divorced in 1950, with his mother retaining custody of their four sons, as Jim spent much of his time on the road as a drummer for Big Band-era acts such as Woody Herman. Chapin's mother married Films in Review magazine editor Henry Hart a few years later. His maternal grandfather was literary critic Kenneth Burke. Chapin's first formal introduction to music were trumpet lessons at The Greenwich House Music School under Mr. Karrasic (sic). Harry's younger brothers Tom and Steve were choirboys at Grace Episcopal Church in Brooklyn Heights, and through them Chapin met "Big" John Wallace, a baritone with a five-octave range, who later became his bassist, backing vocalist, and straight man onstage. Chapin began performing with his brothers while a teenager, with their father occasionally joining them on drums. Chapin graduated from Brooklyn Technical High School in 1960 and was among the five inductees in the school's Alumni Hall Of Fame for the year 2000. He briefly attended the United States Air Force Academy in Colorado Springs, Colorado and was then an intermittent student at Cornell University in New York State, but did not complete a degree. He originally intended to be a documentary film-maker and directed Legendary Champions in 1968, which was nominated for a documentary Academy Award. In 1971, he began focusing on music. With John Wallace, Tim Scott, and Ron Palmer, Chapin started playing in various nightclubs in New York City. CANNOTANSWER

Question: In addtion to Tom, what about Cahpin's other brother?
Answer: CANNOTANSWER