gaussalgo/Canard_Wiki-augmented huggingface dataset:
The Daily Show

Context: The monologue segment is often followed by a segment featuring an exchange with a correspondent--typically introduced as the show's "senior" specialist in the subject at hand--either at the anchor desk with the host or reporting from a false location in front of a greenscreen showing stock footage. Their stated areas of expertise vary depending on the news story that is being discussed, and can range from relatively general (such as Senior Political Analyst) to absurdly specific (such as Senior Religious Registry Correspondent). The cast of correspondents is quite diverse, and many often sarcastically portray extreme stereotypes of themselves to poke fun at a news story, such as "Senior Latino Correspondent", "Senior Youth Correspondent" or "Senior Black Correspondent". They typically present absurd or humorously exaggerated takes on current events against the host's straight man.  While correspondents stated to be reporting abroad are usually performing in-studio in front of a greenscreen background, on rare occasions, cast members have recorded pieces on location. For instance, during the week of August 20, 2007, the show aired a series of segments called "Operation Silent Thunder: The Daily Show in Iraq" in which correspondent Rob Riggle reported from Iraq. In August 2008, Riggle traveled to China for a series of segments titled "Rob Riggle: Chasing the Dragon", which focused on the 2008 Beijing Olympics.  Jason Jones traveled to Iran in early June 2009 to report on the Iranian elections, and John Oliver traveled to South Africa for the series of segments "Into Africa" to report on the 2010 FIFA World Cup. In March 2012, John Oliver traveled to Gabon, on the west African coast, to report on the Gabonese government's decision to donate $2 million to UNESCO after the United States cut its funding for UNESCO earlier that year. On July 19, 2016, Roy Wood Jr. reported live from the Republican National Convention and talked about Donald Trump's African-American support.  Correspondent segments feature a rotating supporting cast, and involve the show's members travelling to different locations to file comedic reports on current news stories and conduct interviews with people related to the featured issue. Topics have varied widely; during the early years of the show they tended toward character-driven human interest stories such as Bigfoot enthusiasts. Since Stewart began hosting in 1999, the focus of the show has become more political and the field pieces have come to more closely reflect current issues and debates. Under Kilborn and the early years of Stewart, most interviewees were either unaware or not entirely aware of the comedic nature of The Daily Show. However, as the show began to gain popularity--particularly following its coverage of the 2000 and 2004 presidential elections--most of the subjects now interviewed are aware of the comedic element. CANNOTANSWER

Question: How long was John Oliver in Africa?
Answer: to report on the 2010 FIFA World Cup.
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: what happened to P. G. Wodehouse in Hollywood in 1929?
Answer: the couple had lost considerable sums in the Wall Street Crash of 1929.
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: what happened to P. G. Wodehouse in Hollywood in 1930?
Answer: The contract started in May 1930,
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: what happened to P. G. Wodehouse in Hollywood in 1931?
Answer: CANNOTANSWER
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: what do P. G. Wodehouse lost money on?
Answer: Wall Street Crash
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: what happened after P. G. Wodehouse loss money?
Answer: The contract started in May 1930, but the studio found little for Wodehouse to do,
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: was the contract of P. G. Wodehouse with hollywood?
Answer: MGM.
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: what did P. G. Wodehouse do for MGM?
Answer: CANNOTANSWER
P. G. Wodehouse

Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire. CANNOTANSWER

Question: Are there any interesting thing in the article about P. G. Wodehouse?
Answer: His only other credits were minimal, and the other projects he worked on were not produced."
Cat Power

Context: In 1996, Marshall signed to Matador Records and in September released her third album, What Would the Community Think, which she recorded in Memphis, Tennessee, in February 1996. The album was produced by Shelley and again featured Shelley and Foljahn as backing musicians, and spawned a single and music video, "Nude as the News". Critics cited the album as evidence of her maturation as a singer and songwriter from the "dense and cathartic" material of her first two releases.  In 1997, Marshall moved to Portland, Oregon, planning to retire from the music business, and then relocated to a rural farmhouse in Prosperity, South Carolina. While living alone in the farmhouse, Marshall experienced a hypnogogic nightmare that became the inspiration for her following album, Moon Pix, released in 1998. Moon Pix was recorded at Sing Sing Studios in Melbourne, Australia in 11 days with backing musicians Mick Turner and Jim White of the Australian band Dirty Three. It was well received by critics, and along with an accompanying music video for the song "Cross Bones Style", helped her gain further recognition. Rolling Stone would later describe it as her 'breakthrough' record.  By 2000 Marshall stated that she had grown tired of touring her own material. This resulted in a series of shows during 1999 where Marshall provided musical accompaniment to the silent movie The Passion of Joan of Arc. The shows combined original material and a number of covers, some of which would be released on Marshall's fifth album, The Covers Record in 2000. The songs were recorded during two sessions in the summer of 1998 and fall of 1999. Additionally, she performed eleven covers during a Peel session broadcast on June 18, 2000 that included own interpretations of Bob Dylan's "Hard Times in New York Town" and Oasis's "Wonderwall". Her contract with Matador for 2000's The Covers Album reportedly consisted of a Post-it note signed by herself and the company's founder. CANNOTANSWER

Question: Did Marshall attend college?
Answer: CANNOTANSWER
Cat Power

Context: In 1996, Marshall signed to Matador Records and in September released her third album, What Would the Community Think, which she recorded in Memphis, Tennessee, in February 1996. The album was produced by Shelley and again featured Shelley and Foljahn as backing musicians, and spawned a single and music video, "Nude as the News". Critics cited the album as evidence of her maturation as a singer and songwriter from the "dense and cathartic" material of her first two releases.  In 1997, Marshall moved to Portland, Oregon, planning to retire from the music business, and then relocated to a rural farmhouse in Prosperity, South Carolina. While living alone in the farmhouse, Marshall experienced a hypnogogic nightmare that became the inspiration for her following album, Moon Pix, released in 1998. Moon Pix was recorded at Sing Sing Studios in Melbourne, Australia in 11 days with backing musicians Mick Turner and Jim White of the Australian band Dirty Three. It was well received by critics, and along with an accompanying music video for the song "Cross Bones Style", helped her gain further recognition. Rolling Stone would later describe it as her 'breakthrough' record.  By 2000 Marshall stated that she had grown tired of touring her own material. This resulted in a series of shows during 1999 where Marshall provided musical accompaniment to the silent movie The Passion of Joan of Arc. The shows combined original material and a number of covers, some of which would be released on Marshall's fifth album, The Covers Record in 2000. The songs were recorded during two sessions in the summer of 1998 and fall of 1999. Additionally, she performed eleven covers during a Peel session broadcast on June 18, 2000 that included own interpretations of Bob Dylan's "Hard Times in New York Town" and Oasis's "Wonderwall". Her contract with Matador for 2000's The Covers Album reportedly consisted of a Post-it note signed by herself and the company's founder. CANNOTANSWER

Question: Where did Marshall  begin her career?
Answer: CANNOTANSWER
Cat Power

Context: In 1996, Marshall signed to Matador Records and in September released her third album, What Would the Community Think, which she recorded in Memphis, Tennessee, in February 1996. The album was produced by Shelley and again featured Shelley and Foljahn as backing musicians, and spawned a single and music video, "Nude as the News". Critics cited the album as evidence of her maturation as a singer and songwriter from the "dense and cathartic" material of her first two releases.  In 1997, Marshall moved to Portland, Oregon, planning to retire from the music business, and then relocated to a rural farmhouse in Prosperity, South Carolina. While living alone in the farmhouse, Marshall experienced a hypnogogic nightmare that became the inspiration for her following album, Moon Pix, released in 1998. Moon Pix was recorded at Sing Sing Studios in Melbourne, Australia in 11 days with backing musicians Mick Turner and Jim White of the Australian band Dirty Three. It was well received by critics, and along with an accompanying music video for the song "Cross Bones Style", helped her gain further recognition. Rolling Stone would later describe it as her 'breakthrough' record.  By 2000 Marshall stated that she had grown tired of touring her own material. This resulted in a series of shows during 1999 where Marshall provided musical accompaniment to the silent movie The Passion of Joan of Arc. The shows combined original material and a number of covers, some of which would be released on Marshall's fifth album, The Covers Record in 2000. The songs were recorded during two sessions in the summer of 1998 and fall of 1999. Additionally, she performed eleven covers during a Peel session broadcast on June 18, 2000 that included own interpretations of Bob Dylan's "Hard Times in New York Town" and Oasis's "Wonderwall". Her contract with Matador for 2000's The Covers Album reportedly consisted of a Post-it note signed by herself and the company's founder. CANNOTANSWER

Question: Wasa there anything notable about Marshall's early career?
Answer: Marshall moved to Portland, Oregon, planning to retire from the music business, and then relocated to a rural farmhouse in Prosperity, South Carolina.
Cat Power

Context: In 1996, Marshall signed to Matador Records and in September released her third album, What Would the Community Think, which she recorded in Memphis, Tennessee, in February 1996. The album was produced by Shelley and again featured Shelley and Foljahn as backing musicians, and spawned a single and music video, "Nude as the News". Critics cited the album as evidence of her maturation as a singer and songwriter from the "dense and cathartic" material of her first two releases.  In 1997, Marshall moved to Portland, Oregon, planning to retire from the music business, and then relocated to a rural farmhouse in Prosperity, South Carolina. While living alone in the farmhouse, Marshall experienced a hypnogogic nightmare that became the inspiration for her following album, Moon Pix, released in 1998. Moon Pix was recorded at Sing Sing Studios in Melbourne, Australia in 11 days with backing musicians Mick Turner and Jim White of the Australian band Dirty Three. It was well received by critics, and along with an accompanying music video for the song "Cross Bones Style", helped her gain further recognition. Rolling Stone would later describe it as her 'breakthrough' record.  By 2000 Marshall stated that she had grown tired of touring her own material. This resulted in a series of shows during 1999 where Marshall provided musical accompaniment to the silent movie The Passion of Joan of Arc. The shows combined original material and a number of covers, some of which would be released on Marshall's fifth album, The Covers Record in 2000. The songs were recorded during two sessions in the summer of 1998 and fall of 1999. Additionally, she performed eleven covers during a Peel session broadcast on June 18, 2000 that included own interpretations of Bob Dylan's "Hard Times in New York Town" and Oasis's "Wonderwall". Her contract with Matador for 2000's The Covers Album reportedly consisted of a Post-it note signed by herself and the company's founder. CANNOTANSWER

Question: In addition to Marshall's relocation to a rural farmhouse in Prosperity, South Carolina, did she work in any other industries during her time?
Answer: CANNOTANSWER
Steve Corino

Context: In 1998, Corino debuted in Extreme Championship Wrestling as a heel manager. He stood out in ECW as a result of his "King of Old School" gimmick, where he would deride hardcore wrestlers, at one point invading a Limp Bizkit concert and protesting the immoral conduct.  In late 1999, Corino took Jack Victory on as a manager, and became an advisor for Tajiri and Rhino. He then began feuding with Dusty Rhodes, who defeated him in a gory Bullrope match at Living Dangerously. At Heat Wave 2000, he lost to Jerry Lynn. Corino went on to win the ECW World Heavyweight Championship on November 5, 2000 at November to Remember by defeating Justin Credible, Sandman and Champion Jerry Lynn in a Double Jeopardy match; then to successfully defend it at Massacre on 34th Street in December against Jerry Lynn and Justin Credible in a 3 way dance.  Due to repeated failures of ECW paying Corino his salary, he left the company on January 7, 2001, the night he lost the ECW World Title at Guilty as Charged 2001 to Sandman. His friend Dustin Rhodes got him a contract in World Championship Wrestling, but he never got to make an appearance despite being due to debut at the company's third to last PPV Sin. When World Wrestling Entertainment took over WCW in March 2001, they released Corino from his contract. He went on to wrestle for many of the National Wrestling Alliance regional promotions. On April 24, he won the NWA World Heavyweight title. CANNOTANSWER

Question: What was Steve Corino's involvement in Extreme Championship Wrestling?
Answer: In 1998, Corino debuted in Extreme Championship Wrestling as a heel manager. He stood out in ECW as a result of his "King of Old School"
Steve Corino

Context: In 1998, Corino debuted in Extreme Championship Wrestling as a heel manager. He stood out in ECW as a result of his "King of Old School" gimmick, where he would deride hardcore wrestlers, at one point invading a Limp Bizkit concert and protesting the immoral conduct.  In late 1999, Corino took Jack Victory on as a manager, and became an advisor for Tajiri and Rhino. He then began feuding with Dusty Rhodes, who defeated him in a gory Bullrope match at Living Dangerously. At Heat Wave 2000, he lost to Jerry Lynn. Corino went on to win the ECW World Heavyweight Championship on November 5, 2000 at November to Remember by defeating Justin Credible, Sandman and Champion Jerry Lynn in a Double Jeopardy match; then to successfully defend it at Massacre on 34th Street in December against Jerry Lynn and Justin Credible in a 3 way dance.  Due to repeated failures of ECW paying Corino his salary, he left the company on January 7, 2001, the night he lost the ECW World Title at Guilty as Charged 2001 to Sandman. His friend Dustin Rhodes got him a contract in World Championship Wrestling, but he never got to make an appearance despite being due to debut at the company's third to last PPV Sin. When World Wrestling Entertainment took over WCW in March 2001, they released Corino from his contract. He went on to wrestle for many of the National Wrestling Alliance regional promotions. On April 24, he won the NWA World Heavyweight title. CANNOTANSWER

Question: How long was Steve Corino involved in Extreme Championship Wrestling as a heel manager?
Answer: Due to repeated failures of ECW paying Corino his salary, he left the company on January 7, 2001, the
Steve Corino

Context: In 1998, Corino debuted in Extreme Championship Wrestling as a heel manager. He stood out in ECW as a result of his "King of Old School" gimmick, where he would deride hardcore wrestlers, at one point invading a Limp Bizkit concert and protesting the immoral conduct.  In late 1999, Corino took Jack Victory on as a manager, and became an advisor for Tajiri and Rhino. He then began feuding with Dusty Rhodes, who defeated him in a gory Bullrope match at Living Dangerously. At Heat Wave 2000, he lost to Jerry Lynn. Corino went on to win the ECW World Heavyweight Championship on November 5, 2000 at November to Remember by defeating Justin Credible, Sandman and Champion Jerry Lynn in a Double Jeopardy match; then to successfully defend it at Massacre on 34th Street in December against Jerry Lynn and Justin Credible in a 3 way dance.  Due to repeated failures of ECW paying Corino his salary, he left the company on January 7, 2001, the night he lost the ECW World Title at Guilty as Charged 2001 to Sandman. His friend Dustin Rhodes got him a contract in World Championship Wrestling, but he never got to make an appearance despite being due to debut at the company's third to last PPV Sin. When World Wrestling Entertainment took over WCW in March 2001, they released Corino from his contract. He went on to wrestle for many of the National Wrestling Alliance regional promotions. On April 24, he won the NWA World Heavyweight title. CANNOTANSWER

Question: How many matches did Steve Corino compete in as a heel manager in Extreme Championship Wrestling?
Answer: CANNOTANSWER
Steve Corino

Context: In 1998, Corino debuted in Extreme Championship Wrestling as a heel manager. He stood out in ECW as a result of his "King of Old School" gimmick, where he would deride hardcore wrestlers, at one point invading a Limp Bizkit concert and protesting the immoral conduct.  In late 1999, Corino took Jack Victory on as a manager, and became an advisor for Tajiri and Rhino. He then began feuding with Dusty Rhodes, who defeated him in a gory Bullrope match at Living Dangerously. At Heat Wave 2000, he lost to Jerry Lynn. Corino went on to win the ECW World Heavyweight Championship on November 5, 2000 at November to Remember by defeating Justin Credible, Sandman and Champion Jerry Lynn in a Double Jeopardy match; then to successfully defend it at Massacre on 34th Street in December against Jerry Lynn and Justin Credible in a 3 way dance.  Due to repeated failures of ECW paying Corino his salary, he left the company on January 7, 2001, the night he lost the ECW World Title at Guilty as Charged 2001 to Sandman. His friend Dustin Rhodes got him a contract in World Championship Wrestling, but he never got to make an appearance despite being due to debut at the company's third to last PPV Sin. When World Wrestling Entertainment took over WCW in March 2001, they released Corino from his contract. He went on to wrestle for many of the National Wrestling Alliance regional promotions. On April 24, he won the NWA World Heavyweight title. CANNOTANSWER

Question: How many matches did Steve Corino win?
Answer: Corino went on to win the ECW World Heavyweight Championship on November 5, 2000 at November to Remember by defeating Justin Credible,
Steve Corino

Context: In 1998, Corino debuted in Extreme Championship Wrestling as a heel manager. He stood out in ECW as a result of his "King of Old School" gimmick, where he would deride hardcore wrestlers, at one point invading a Limp Bizkit concert and protesting the immoral conduct.  In late 1999, Corino took Jack Victory on as a manager, and became an advisor for Tajiri and Rhino. He then began feuding with Dusty Rhodes, who defeated him in a gory Bullrope match at Living Dangerously. At Heat Wave 2000, he lost to Jerry Lynn. Corino went on to win the ECW World Heavyweight Championship on November 5, 2000 at November to Remember by defeating Justin Credible, Sandman and Champion Jerry Lynn in a Double Jeopardy match; then to successfully defend it at Massacre on 34th Street in December against Jerry Lynn and Justin Credible in a 3 way dance.  Due to repeated failures of ECW paying Corino his salary, he left the company on January 7, 2001, the night he lost the ECW World Title at Guilty as Charged 2001 to Sandman. His friend Dustin Rhodes got him a contract in World Championship Wrestling, but he never got to make an appearance despite being due to debut at the company's third to last PPV Sin. When World Wrestling Entertainment took over WCW in March 2001, they released Corino from his contract. He went on to wrestle for many of the National Wrestling Alliance regional promotions. On April 24, he won the NWA World Heavyweight title. CANNOTANSWER

Question: Where did Steve Corino end his retirement tour?
Answer: CANNOTANSWER
Bill James

Context: An aspiring writer and obsessive fan, James began writing baseball articles after leaving the United States Army in his mid-twenties. Many of his first baseball writings came while he was doing night shifts as a security guard at the Stokely-Van Camp's pork and beans cannery. Unlike most writers, his pieces did not recount games in epic terms or offer insights gleaned from interviews with players. A typical James piece posed a question (e.g., "Which pitchers and catchers allow runners to steal the most bases?"), and then presented data and analysis written in a lively, insightful, and witty style that offered an answer.  Editors considered James's pieces so unusual that few believed them suitable for their readers. In an effort to reach a wider audience, James began self-publishing an annual book titled The Bill James Baseball Abstract beginning in 1977. The first edition, titled 1977 Baseball Abstract: Featuring 18 categories of statistical information that you just can't find anywhere else, presented 68 pages of in-depth statistics compiled from James's study of box scores from the preceding season and was offered for sale through a small advertisement in The Sporting News. Seventy-five people purchased the booklet. The 1978 edition, subtitled The 2nd annual edition of baseball's most informative and imaginative review, sold 250 copies. Beginning in 1979, James wrote an annual preview of the baseball season for Esquire, and continued to do so through 1984.  The first three editions of the Baseball Abstract garnered respect for James's work, including a very favorable review by Daniel Okrent in Sports Illustrated. New annual editions added essays on teams and players. By 1982 sales had increased tenfold, and a media conglomerate agreed to publish and distribute future editions.  While writers had published books about baseball statistics before (most notably Earnshaw Cook's Percentage Baseball, in the 1960s), few had ever reached a mass audience. Attempts to imitate James's work spawned a flood of books and articles that continues to this day. CANNOTANSWER

Question: What are the Bill James Baseball Abstracts about?
Answer: James began self-publishing an annual book titled The Bill James Baseball Abstract beginning in 1977.
Bill James

Context: An aspiring writer and obsessive fan, James began writing baseball articles after leaving the United States Army in his mid-twenties. Many of his first baseball writings came while he was doing night shifts as a security guard at the Stokely-Van Camp's pork and beans cannery. Unlike most writers, his pieces did not recount games in epic terms or offer insights gleaned from interviews with players. A typical James piece posed a question (e.g., "Which pitchers and catchers allow runners to steal the most bases?"), and then presented data and analysis written in a lively, insightful, and witty style that offered an answer.  Editors considered James's pieces so unusual that few believed them suitable for their readers. In an effort to reach a wider audience, James began self-publishing an annual book titled The Bill James Baseball Abstract beginning in 1977. The first edition, titled 1977 Baseball Abstract: Featuring 18 categories of statistical information that you just can't find anywhere else, presented 68 pages of in-depth statistics compiled from James's study of box scores from the preceding season and was offered for sale through a small advertisement in The Sporting News. Seventy-five people purchased the booklet. The 1978 edition, subtitled The 2nd annual edition of baseball's most informative and imaginative review, sold 250 copies. Beginning in 1979, James wrote an annual preview of the baseball season for Esquire, and continued to do so through 1984.  The first three editions of the Baseball Abstract garnered respect for James's work, including a very favorable review by Daniel Okrent in Sports Illustrated. New annual editions added essays on teams and players. By 1982 sales had increased tenfold, and a media conglomerate agreed to publish and distribute future editions.  While writers had published books about baseball statistics before (most notably Earnshaw Cook's Percentage Baseball, in the 1960s), few had ever reached a mass audience. Attempts to imitate James's work spawned a flood of books and articles that continues to this day. CANNOTANSWER

Question: Where did Bill James write the baseball abstracts?
Answer: Many of his first baseball writings came while he was doing night shifts as a security guard at the Stokely-Van Camp's pork and beans cannery.
Bill James

Context: An aspiring writer and obsessive fan, James began writing baseball articles after leaving the United States Army in his mid-twenties. Many of his first baseball writings came while he was doing night shifts as a security guard at the Stokely-Van Camp's pork and beans cannery. Unlike most writers, his pieces did not recount games in epic terms or offer insights gleaned from interviews with players. A typical James piece posed a question (e.g., "Which pitchers and catchers allow runners to steal the most bases?"), and then presented data and analysis written in a lively, insightful, and witty style that offered an answer.  Editors considered James's pieces so unusual that few believed them suitable for their readers. In an effort to reach a wider audience, James began self-publishing an annual book titled The Bill James Baseball Abstract beginning in 1977. The first edition, titled 1977 Baseball Abstract: Featuring 18 categories of statistical information that you just can't find anywhere else, presented 68 pages of in-depth statistics compiled from James's study of box scores from the preceding season and was offered for sale through a small advertisement in The Sporting News. Seventy-five people purchased the booklet. The 1978 edition, subtitled The 2nd annual edition of baseball's most informative and imaginative review, sold 250 copies. Beginning in 1979, James wrote an annual preview of the baseball season for Esquire, and continued to do so through 1984.  The first three editions of the Baseball Abstract garnered respect for James's work, including a very favorable review by Daniel Okrent in Sports Illustrated. New annual editions added essays on teams and players. By 1982 sales had increased tenfold, and a media conglomerate agreed to publish and distribute future editions.  While writers had published books about baseball statistics before (most notably Earnshaw Cook's Percentage Baseball, in the 1960s), few had ever reached a mass audience. Attempts to imitate James's work spawned a flood of books and articles that continues to this day. CANNOTANSWER

Question: Why was Bill James writing about baseball?
Answer: An aspiring writer and obsessive fan, James began writing baseball articles after leaving the United States Army