gaussalgo/Canard_Wiki-augmented huggingface dataset:
Lawrence Alma-Tadema

Context: Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings. CANNOTANSWER

Question: Why was one of Lawrence Alma-Tadena's painting rejected?
Answer: He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards.
Lawrence Alma-Tadema

Context: Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings. CANNOTANSWER

Question: What was the humorous story surrounding Lawrence Alma-Tadena's rejected painting?
Answer: instead of keeping it, he gave the canvas to a maid who used it as her table cover.
Lawrence Alma-Tadema

Context: Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings. CANNOTANSWER

Question: What's the most fascinating aspect of this article about
Answer: His work shows much of the fine execution and brilliant colour of the old Dutch masters.
Lawrence Alma-Tadema

Context: Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings. CANNOTANSWER

Question: Did Lawrence Alma-Tadena have any inspirations from other artists besides old Dutch masters?
Answer: CANNOTANSWER
Lawrence Alma-Tadema

Context: Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings. CANNOTANSWER

Question: What's the most important aspect of Lawrence Alma-Tadena's style?
Answer: From early in his career, Alma-Tadema was particularly concerned with architectural accuracy,
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: What is the etymology of the word Vlachs?
Answer: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger",
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: Why were the Vlachs considered strangers?
Answer: signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad".
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: Was Vlach considered derogative?
Answer: In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: Was the word Vlach ever not meant in a derogatory way?
Answer: CANNOTANSWER
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: Besides its use in Croatia, is there anything else interesting about the etymology of the word Vlach?
Answer: Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: Who first coined the term Vlach?
Answer: Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire
Vlachs

Context: The word "Vlach" is etymologically derived from the ethnonym of a Celtic tribe, adopted into Proto-Germanic *Walhaz which meant "stranger", from *Wolka- (Caesar's Latin: Volcae, Strabo and Ptolemy's Greek: Ouolkai).  Via Latin, in Gothic, as *walhs, the ethnonym took on the meaning "foreigner" or "Romance-speaker", and was adopted into Greek Vlahi (Blakhoi), Slavic Vlah, Hungarian olah and olasz, etc. The root word was notably adopted in Germanic for Wales and Walloon (German: Welsch), and in Poland Wlochy became an exonym for Italians. Via both Germanic and Latin, the term started to signify "stranger, foreigner" also in the Balkans, where it in its early form was used for Romance-speakers, but the term eventually took on the meaning of "shepherd, nomad". The Romance-speaking communities themselves however used the endonym (they called themselves) "Romans". During the early history of the Ottoman Empire in the Balkans, there was a social class of Vlachs in Serbia and Macedonia, made up of Christians who served as auxiliary forces and had the same rights as Muslims. In Croatia, the term became derogatory, and Vlasi was used for the ethnic Serb community.  Romanian scholars have suggested that the term Vlach appeared for the first time in the Eastern Roman Empire and was subsequently spread to the Germanic- and then Slavic-speaking worlds through the Norsemen (possibly by Varangians), who were in trade and military contact with Byzantium during the early Middle Ages (see also Blakumen).  The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia. CANNOTANSWER

Question: Besides the romans coining the word, are there any other interesting aspects about the word Vlach?
Answer: The term "Vlach" is used in scholarship for the Romance-speaking communities in the Balkans, especially those in Greece, Albania and Macedonia.
Sarah Vaughan

Context: Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan hung around the Braddock Grill, next to the Apollo Theater in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker, with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.  After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square.  While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, Vaughan had her teeth capped, eliminating a gap between her two front teeth.  Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.  Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"--she was proud to be the first to have recorded that Jazz standard--became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the better-known Nat King Cole version was released. Because of a second recording ban imposed by the musicians' union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody. CANNOTANSWER

Question: How long before Sarah Vaughan joined the other group of musicians?
Answer: CANNOTANSWER
Sarah Vaughan

Context: Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan hung around the Braddock Grill, next to the Apollo Theater in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker, with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.  After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square.  While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, Vaughan had her teeth capped, eliminating a gap between her two front teeth.  Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.  Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"--she was proud to be the first to have recorded that Jazz standard--became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the better-known Nat King Cole version was released. Because of a second recording ban imposed by the musicians' union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody. CANNOTANSWER

Question: What year did Eckistein quit the Hines Band?
Answer: 1945
Sarah Vaughan

Context: Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan hung around the Braddock Grill, next to the Apollo Theater in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker, with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.  After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square.  While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, Vaughan had her teeth capped, eliminating a gap between her two front teeth.  Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.  Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"--she was proud to be the first to have recorded that Jazz standard--became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the better-known Nat King Cole version was released. Because of a second recording ban imposed by the musicians' union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody. CANNOTANSWER

Question: What era of music was Sarah Vaughan in?
Answer: CANNOTANSWER
Sarah Vaughan

Context: Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan hung around the Braddock Grill, next to the Apollo Theater in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker, with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month, she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.  After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square.  While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell made changes in Vaughan's stage appearance. Aside from a new wardrobe and hair style, Vaughan had her teeth capped, eliminating a gap between her two front teeth.  Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.  Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly"--she was proud to be the first to have recorded that Jazz standard--became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the time the better-known Nat King Cole version was released. Because of a second recording ban imposed by the musicians' union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody. CANNOTANSWER

Question: What was the first song Sarah Vaughan did?
Answer: "Lover Man"
Brett Hull

Context: As a dual Canadian and American citizen, Hull was eligible to play for either country internationally. While playing at UMD, he was passed over by officials with Team Canada when they selected their roster for the 1986 World Ice Hockey Championships. However, the American national team invited him to join their squad. Hull accepted and led the team in scoring with 7 goals and 11 points for the sixth place Americans. Hull later said the faith shown in him by American officials gave him the confidence to excel in his career. He played with Team USA for the rest of his career, and at the 1986 Calgary Cup tournament, played a pivotal role in a 5-3 upset of Canada by the Americans. Following the game, he said "I don't feel more like an American than a Canadian. I just want to play."  Hull tied Mike Modano for the American scoring lead at the 1991 Canada Cup with nine points. He led the Americans into the tournament final against Canada, but was held pointless in the decisive game as Canada won the tournament with a 4-2 game. Canadian fans turned on Hull at the inaugural World Cup of Hockey in 1996. In the semifinal against Russia, fans in Ottawa loudly booed Hull and chanted "traitor" towards him as he scored two goals to lead the United States to the final against Canada. In the deciding game of the best-of-three final, Hull scored a key goal as the Americans turned a 2-1 deficit with five minutes to play into a 5-2 victory and captured the championship. Hull led all players with 11 points and was a tournament all-star at forward.  Making his Olympic debut at the 1998 Winter Games, Hull scored two goals in four games. The Americans were quickly eliminated from the tournament and were criticized for their lack of desire and leadership. The team was further embarrassed when it was discovered some members had trashed their hotel room following their elimination. Hull was initially blamed as being a culprit. He angrily denied the accusation and claimed it was an invention of Canadian media upset that he was playing for the United States. Hull, Modano and John LeClair formed the American's top line for the 2002 Olympics. The trio were dominant throughout most of the tournament, leading Team USA to the gold medal game against Canada. Hull and LeClair finished second and third in overall scoring, respectively; however they were held pointless against Team Canada in the final. Hull and the Americans settled for the silver medal following a 5-2 defeat.  Team USA named Hull an alternate captain of its veteran-laden team for the 2004 World Cup of Hockey. However, he was benched by head coach Ron Wilson following two indifferent games in which he did not register a point and never returned to the active lineup. CANNOTANSWER

Question: What lead to Brett Hull's international career ?
Answer: passed over by officials with Team Canada when they selected their roster for the 1986 World Ice Hockey Championships. However, the American national team invited him to join
Brett Hull

Context: As a dual Canadian and American citizen, Hull was eligible to play for either country internationally. While playing at UMD, he was passed over by officials with Team Canada when they selected their roster for the 1986 World Ice Hockey Championships. However, the American national team invited him to join their squad. Hull accepted and led the team in scoring with 7 goals and 11 points for the sixth place Americans. Hull later said the faith shown in him by American officials gave him the confidence to excel in his career. He played with Team USA for the rest of his career, and at the 1986 Calgary Cup tournament, played a pivotal role in a 5-3 upset of Canada by the Americans. Following the game, he said "I don't feel more like an American than a Canadian. I just want to play."  Hull tied Mike Modano for the American scoring lead at the 1991 Canada Cup with nine points. He led the Americans into the tournament final against Canada, but was held pointless in the decisive game as Canada won the tournament with a 4-2 game. Canadian fans turned on Hull at the inaugural World Cup of Hockey in 1996. In the semifinal against Russia, fans in Ottawa loudly booed Hull and chanted "traitor" towards him as he scored two goals to lead the United States to the final against Canada. In the deciding game of the best-of-three final, Hull scored a key goal as the Americans turned a 2-1 deficit with five minutes to play into a 5-2 victory and captured the championship. Hull led all players with 11 points and was a tournament all-star at forward.  Making his Olympic debut at the 1998 Winter Games, Hull scored two goals in four games. The Americans were quickly eliminated from the tournament and were criticized for their lack of desire and leadership. The team was further embarrassed when it was discovered some members had trashed their hotel room following their elimination. Hull was initially blamed as being a culprit. He angrily denied the accusation and claimed it was an invention of Canadian media upset that he was playing for the United States. Hull, Modano and John LeClair formed the American's top line for the 2002 Olympics. The trio were dominant throughout most of the tournament, leading Team USA to the gold medal game against Canada. Hull and LeClair finished second and third in overall scoring, respectively; however they were held pointless against Team Canada in the final. Hull and the Americans settled for the silver medal following a 5-2 defeat.  Team USA named Hull an alternate captain of its veteran-laden team for the 2004 World Cup of Hockey. However, he was benched by head coach Ron Wilson following two indifferent games in which he did not register a point and never returned to the active lineup. CANNOTANSWER

Question: What did the American national team invite Brett Hull to join?
Answer: the American national team invited him to join their squad.
Brett Hull

Context: As a dual Canadian and American citizen, Hull was eligible to play for either country internationally. While playing at UMD, he was passed over by officials with Team Canada when they selected their roster for the 1986 World Ice Hockey Championships. However, the American national team invited him to join their squad. Hull accepted and led the team in scoring with 7 goals and 11 points for the sixth place Americans. Hull later said the faith shown in him by American officials gave him the confidence to excel in his career. He played with Team USA for the rest of his career, and at the 1986 Calgary Cup tournament, played a pivotal role in a 5-3 upset of Canada by the Americans. Following the game, he said "I don't feel more like an American than a Canadian. I just want to play."  Hull tied Mike Modano for the American scoring lead at the 1991 Canada Cup with nine points. He led the Americans into the tournament final against Canada, but was held pointless in the decisive game as Canada won the tournament with a 4-2 game. Canadian fans turned on Hull at the inaugural World Cup of Hockey in 1996. In the semifinal against Russia, fans in Ottawa loudly booed Hull and chanted "traitor" towards him as he scored two goals to lead the United States to the final against Canada. In the deciding game of the best-of-three final, Hull scored a key goal as the Americans turned a 2-1 deficit with five minutes to play into a 5-2 victory and captured the championship. Hull led all players with 11 points and was a tournament all-star at forward.  Making his Olympic debut at the 1998 Winter Games, Hull scored two goals in four games. The Americans were quickly eliminated from the tournament and were criticized for their lack of desire and leadership. The team was further embarrassed when it was discovered some members had trashed their hotel room following their elimination. Hull was initially blamed as being a culprit. He angrily denied the accusation and claimed it was an invention of Canadian media upset that he was playing for the United States. Hull, Modano and John LeClair formed the American's top line for the 2002 Olympics. The trio were dominant throughout most of the tournament, leading Team USA to the gold medal game against Canada. Hull and LeClair finished second and third in overall scoring, respectively; however they were held pointless against Team Canada in the final. Hull and the Americans settled for the silver medal following a 5-2 defeat.  Team USA named Hull an alternate captain of its veteran-laden team for the 2004 World Cup of Hockey. However, he was benched by head coach Ron Wilson following two indifferent games in which he did not register a point and never returned to the active lineup. CANNOTANSWER

Question: Besides the American national team inviting Brett Hull to join their squad, Are there any other interesting aspects about this article?
Answer: Hull tied Mike Modano for the American scoring lead at the 1991 Canada Cup with nine points.
Brett Hull

Context: As a dual Canadian and American citizen, Hull was eligible to play for either country internationally. While playing at UMD, he was passed over by officials with Team Canada when they selected their roster for the 1986 World Ice Hockey Championships. However, the American national team invited him to join their squad. Hull accepted and led the team in scoring with 7 goals and 11 points for the sixth place Americans. Hull later said the faith shown in him by American officials gave him the confidence to excel in his career. He played with Team USA for the rest of his career, and at the 1986 Calgary Cup tournament, played a pivotal role in a 5-3 upset of Canada by the Americans. Following the game, he said "I don't feel more like an American than a Canadian. I just want to play."  Hull tied Mike Modano for the American scoring lead at the 1991 Canada Cup with nine points. He led the Americans into the tournament final against Canada, but was held pointless in the decisive game as Canada won the tournament with a 4-2 game. Canadian fans turned on Hull at the inaugural World Cup of Hockey in 1996. In the semifinal against Russia, fans in Ottawa loudly booed Hull and chanted "traitor" towards him as he scored two goals to lead the United States to the final against Canada. In the deciding game of the best-of-three final, Hull scored a key goal as the Americans turned a 2-1 deficit with five minutes to play into a 5-2 victory and captured the championship. Hull led all players with 11 points and was a tournament all-star at forward.  Making his Olympic debut at the 1998 Winter Games, Hull scored two goals in four games. The Americans were quickly eliminated from the tournament and were criticized for their lack of desire and leadership. The team was further embarrassed when it was discovered some members had trashed their hotel room following their elimination. Hull was initially blamed as being a culprit. He angrily denied the accusation and claimed it was an invention of Canadian media upset that he was playing for the United States. Hull, Modano and John LeClair formed the American's top line for the 2002 Olympics. The trio were dominant throughout most of the tournament, leading Team USA to the gold medal game against Canada. Hull and LeClair finished second and third in overall scoring, respectively; however they were held pointless against Team Canada in the final. Hull and the Americans settled for the silver medal following a 5-2 defeat.  Team USA named Hull an alternate captain of its veteran-laden team for the 2004 World Cup of Hockey. However, he was benched by head coach Ron Wilson following two indifferent games in which he did not register a point and never returned to the active lineup. CANNOTANSWER

Question: Did Brett Hull and the American National Team win any championships?
Answer: Americans turned a 2-1 deficit with five minutes to play into a 5-2 victory and captured the championship.