gaussalgo/Canard_Wiki-augmented huggingface dataset:
Joy Division

Context: Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge."  By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).  Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.  Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER

Question: What was the band Joy Division's focus?
Answer: devices of distance
Joy Division

Context: Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge."  By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).  Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.  Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER

Question: Did the band Joy Division make their own songs?
Answer: Typically on tracks he considered to be potential singles,
Leonard Bernstein

Context: Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".  His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.  In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD.  In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985. CANNOTANSWER

Question: What are Leonard's characteristics as conductor?
Answer: 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts
Leonard Bernstein

Context: Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".  His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.  In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD.  In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985. CANNOTANSWER

Question: What influences did Leonard Bernstein have?
Answer: Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records,
Leonard Bernstein

Context: Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".  His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.  In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD.  In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985. CANNOTANSWER

Question: Did Leonard Bernstein work with another record company besides RCA and Columbia Masterworks Records?
Answer: CANNOTANSWER
Leonard Bernstein

Context: Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s recordings, which were made for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the Young People's Concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".  His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's Symphonie fantastique and Harold in Italy (1976) for EMI; and Wagner's Tristan und Isolde (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.  In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD.  In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985. CANNOTANSWER

Question: Are there any other interesting aspects about Leonard Bernstein and his influence and characteristics as a conductor other than what influences Leonard had, the characteristics Leonard had as a conductor, and the record companies Leonard worked with.?
Answer: many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel.
Harry Price

Context: Price was most famous for his investigation into the Borley Rectory, Essex. The building became known as "the most haunted house in England" after Price published a book about it in 1940. He documented a series of alleged hauntings from the time the rectory was built in 1863. He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.  The psychical researcher John L. Randall wrote there was direct evidence of "dirty tricks" played upon Price by members of the SPR. On 9 October 1931, a past president of the SPR William Henry Salter visited the Borley Rectory in an attempt to persuade the Rector Lionel Foyster, to sever his links with Price and work with the SPR instead. After Price's death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research, two of whom had been Price's most loyal associates, investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.  The "Borley Report", as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote "when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away." Terence Hines wrote "Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself "salted the mine" and faked several phenomena while he was at the rectory."  Robert Hastings was one of the few SPR researchers to defend Price. Price's literary executor Paul Tabori and Peter Underwood have also defended Price against accusations of fraud. A similar approach was made by Ivan Banks in 1996. Michael Coleman in an SPR report in 1997 wrote Price's defenders are unable to rebut the criticisms convincingly.  Price's investigation of Borley was the subject of a 2013 best selling novel by Neil Spring, titled 'The Ghost Hunters.' This novel was subsequently adapted for television as 'Harry Price: Ghost Hunter,' starring Rafe Spall, Cara Theobold and Richie Campbell. CANNOTANSWER

Question: What is the Borley Rectory?
Answer: Price was most famous for his investigation into the Borley Rectory, Essex.
Harry Price

Context: Price was most famous for his investigation into the Borley Rectory, Essex. The building became known as "the most haunted house in England" after Price published a book about it in 1940. He documented a series of alleged hauntings from the time the rectory was built in 1863. He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.  The psychical researcher John L. Randall wrote there was direct evidence of "dirty tricks" played upon Price by members of the SPR. On 9 October 1931, a past president of the SPR William Henry Salter visited the Borley Rectory in an attempt to persuade the Rector Lionel Foyster, to sever his links with Price and work with the SPR instead. After Price's death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research, two of whom had been Price's most loyal associates, investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.  The "Borley Report", as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote "when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away." Terence Hines wrote "Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself "salted the mine" and faked several phenomena while he was at the rectory."  Robert Hastings was one of the few SPR researchers to defend Price. Price's literary executor Paul Tabori and Peter Underwood have also defended Price against accusations of fraud. A similar approach was made by Ivan Banks in 1996. Michael Coleman in an SPR report in 1997 wrote Price's defenders are unable to rebut the criticisms convincingly.  Price's investigation of Borley was the subject of a 2013 best selling novel by Neil Spring, titled 'The Ghost Hunters.' This novel was subsequently adapted for television as 'Harry Price: Ghost Hunter,' starring Rafe Spall, Cara Theobold and Richie Campbell. CANNOTANSWER

Question: What happened to Harry Price at the Borley Rectory?
Answer: He documented a series of alleged hauntings from the time the rectory was built in 1863.
Harry Price

Context: Price was most famous for his investigation into the Borley Rectory, Essex. The building became known as "the most haunted house in England" after Price published a book about it in 1940. He documented a series of alleged hauntings from the time the rectory was built in 1863. He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.  The psychical researcher John L. Randall wrote there was direct evidence of "dirty tricks" played upon Price by members of the SPR. On 9 October 1931, a past president of the SPR William Henry Salter visited the Borley Rectory in an attempt to persuade the Rector Lionel Foyster, to sever his links with Price and work with the SPR instead. After Price's death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research, two of whom had been Price's most loyal associates, investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.  The "Borley Report", as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote "when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away." Terence Hines wrote "Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself "salted the mine" and faked several phenomena while he was at the rectory."  Robert Hastings was one of the few SPR researchers to defend Price. Price's literary executor Paul Tabori and Peter Underwood have also defended Price against accusations of fraud. A similar approach was made by Ivan Banks in 1996. Michael Coleman in an SPR report in 1997 wrote Price's defenders are unable to rebut the criticisms convincingly.  Price's investigation of Borley was the subject of a 2013 best selling novel by Neil Spring, titled 'The Ghost Hunters.' This novel was subsequently adapted for television as 'Harry Price: Ghost Hunter,' starring Rafe Spall, Cara Theobold and Richie Campbell. CANNOTANSWER

Question: What type of hauntings did Harry Price document at the Borley Rectory?
Answer: CANNOTANSWER
Harry Price

Context: Price was most famous for his investigation into the Borley Rectory, Essex. The building became known as "the most haunted house in England" after Price published a book about it in 1940. He documented a series of alleged hauntings from the time the rectory was built in 1863. He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.  The psychical researcher John L. Randall wrote there was direct evidence of "dirty tricks" played upon Price by members of the SPR. On 9 October 1931, a past president of the SPR William Henry Salter visited the Borley Rectory in an attempt to persuade the Rector Lionel Foyster, to sever his links with Price and work with the SPR instead. After Price's death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research, two of whom had been Price's most loyal associates, investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.  The "Borley Report", as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote "when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away." Terence Hines wrote "Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself "salted the mine" and faked several phenomena while he was at the rectory."  Robert Hastings was one of the few SPR researchers to defend Price. Price's literary executor Paul Tabori and Peter Underwood have also defended Price against accusations of fraud. A similar approach was made by Ivan Banks in 1996. Michael Coleman in an SPR report in 1997 wrote Price's defenders are unable to rebut the criticisms convincingly.  Price's investigation of Borley was the subject of a 2013 best selling novel by Neil Spring, titled 'The Ghost Hunters.' This novel was subsequently adapted for television as 'Harry Price: Ghost Hunter,' starring Rafe Spall, Cara Theobold and Richie Campbell. CANNOTANSWER

Question: Other than the hauntings, what else did Harry Price say about the Borley Rectory?
Answer: He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.
Harry Price

Context: Price was most famous for his investigation into the Borley Rectory, Essex. The building became known as "the most haunted house in England" after Price published a book about it in 1940. He documented a series of alleged hauntings from the time the rectory was built in 1863. He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.  The psychical researcher John L. Randall wrote there was direct evidence of "dirty tricks" played upon Price by members of the SPR. On 9 October 1931, a past president of the SPR William Henry Salter visited the Borley Rectory in an attempt to persuade the Rector Lionel Foyster, to sever his links with Price and work with the SPR instead. After Price's death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research, two of whom had been Price's most loyal associates, investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.  The "Borley Report", as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote "when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away." Terence Hines wrote "Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself "salted the mine" and faked several phenomena while he was at the rectory."  Robert Hastings was one of the few SPR researchers to defend Price. Price's literary executor Paul Tabori and Peter Underwood have also defended Price against accusations of fraud. A similar approach was made by Ivan Banks in 1996. Michael Coleman in an SPR report in 1997 wrote Price's defenders are unable to rebut the criticisms convincingly.  Price's investigation of Borley was the subject of a 2013 best selling novel by Neil Spring, titled 'The Ghost Hunters.' This novel was subsequently adapted for television as 'Harry Price: Ghost Hunter,' starring Rafe Spall, Cara Theobold and Richie Campbell. CANNOTANSWER

Question: What were Harry Price's experiences living in the Borley Rectory?
Answer: CANNOTANSWER
Harry Price

Context: Price was most famous for his investigation into the Borley Rectory, Essex. The building became known as "the most haunted house in England" after Price published a book about it in 1940. He documented a series of alleged hauntings from the time the rectory was built in 1863. He lived in the rectory from May 1937 to May 1938 and wrote of his experiences in the book.  The psychical researcher John L. Randall wrote there was direct evidence of "dirty tricks" played upon Price by members of the SPR. On 9 October 1931, a past president of the SPR William Henry Salter visited the Borley Rectory in an attempt to persuade the Rector Lionel Foyster, to sever his links with Price and work with the SPR instead. After Price's death in 1948 Eric Dingwall, Kathleen M. Goldney, and Trevor H. Hall, three members of the Society for Psychical Research, two of whom had been Price's most loyal associates, investigated his claims about Borley. Their findings were published in a 1956 book, The Haunting of Borley Rectory, which concluded Price had fraudulently produced some of the phenomena.  The "Borley Report", as the SPR study has become known, stated that many of the phenomena were either faked or due to natural causes such as rats and the strange acoustics attributed to the odd shape of the house. In their conclusion, Dingwall, Goldney, and Hall wrote "when analysed, the evidence for haunting and poltergeist activity for each and every period appears to diminish in force and finally to vanish away." Terence Hines wrote "Mrs. Marianne Foyster, wife of the Rev. Lionel Foyster who lived at the rectory from 1930 to 1935, was actively engaged in fraudulently creating [haunted] phenomena. Price himself "salted the mine" and faked several phenomena while he was at the rectory."  Robert Hastings was one of the few SPR researchers to defend Price. Price's literary executor Paul Tabori and Peter Underwood have also defended Price against accusations of fraud. A similar approach was made by Ivan Banks in 1996. Michael Coleman in an SPR report in 1997 wrote Price's defenders are unable to rebut the criticisms convincingly.  Price's investigation of Borley was the subject of a 2013 best selling novel by Neil Spring, titled 'The Ghost Hunters.' This novel was subsequently adapted for television as 'Harry Price: Ghost Hunter,' starring Rafe Spall, Cara Theobold and Richie Campbell. CANNOTANSWER

Question: What happened after Harry Price lived in the Borley Rectory?
Answer: CANNOTANSWER
Mr. Children

Context: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10.  On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua  -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts.  Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour. CANNOTANSWER

Question: What happened in 1995 with Mr. Children?
Answer: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2.
Mr. Children

Context: In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10.  On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua  -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts.  Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour. CANNOTANSWER

Question: Was "Everything (It's You)" by Mr. Children successful?
Answer: Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding.
Billy Southworth

Context: Southworth's managerial career began in 1928 with the Rochester Red Wings of the AA International League (IL), the top club in the Cardinals' farm system. In May, Southworth and his wife experienced the stillbirths of twins. Southworth returned home after losing the twins, but he quickly came back to Rochester. Late in the season, Southworth received word that Billy Jr. had been accidentally shot by a neighbor in Columbus. His son recovered, but the experience shook the manager. The team won the IL championship that season.  Southworth was promoted to St. Louis as player-manager for 1929, replacing Bill McKechnie, who won a National League pennant in 1928 and lost the World Series in four straight games to the New York Yankees. Southworth's Major League playing career reached the end of the road, as he appeared in only 19 games, five in the outfield, and batted only .188 with six hits. He finished with a .297 batting average in 1,131 MLB games played, 52 home runs, 91 triples, 173 doubles, 661 runs scored, and 561 RBI. He stole 138 bases in his career and had double-digit steal totals in eight seasons. As a big leaguer, Southworth had 1,296 hits in 4,359 at bats.  His 1929 MLB managerial debut was not much more successful than his playing stint. Only one year removed from being a teammate of his charges, he attempted to impose discipline on the Cardinals, banning them from driving their own automobiles. The team did not respond to his hard line and won only 43 of their first 88 games. Southworth was sent back to Rochester on July 21, McKechnie was rehired, and the Cardinals finished in fourth place.  Although Southworth immediately resumed his successful minor league managerial career, the firing and personal tragedy -- the death of his wife Lida at age 42 -- began a downward spiral. Beset by struggles with alcoholism, he quit a coaching job with the 1933 Giants during spring training and left baseball for two seasons. After a recovery, he rejoined the Cardinals' minor league system in 1935 and by 1939 he was again enjoying success as Rochester's manager. He remarried in 1935, wedding the former Mabel Stemen, and had a daughter. CANNOTANSWER

Question: What started Billy Southworth's career as a manager?
Answer: Southworth's managerial career began in 1928 with the Rochester Red Wings of the AA International League
Billy Southworth

Context: Southworth's managerial career began in 1928 with the Rochester Red Wings of the AA International League (IL), the top club in the Cardinals' farm system. In May, Southworth and his wife experienced the stillbirths of twins. Southworth returned home after losing the twins, but he quickly came back to Rochester. Late in the season, Southworth received word that Billy Jr. had been accidentally shot by a neighbor in Columbus. His son recovered, but the experience shook the manager. The team won the IL championship that season.  Southworth was promoted to St. Louis as player-manager for 1929, replacing Bill McKechnie, who won a National League pennant in 1928 and lost the World Series in four straight games to the New York Yankees. Southworth's Major League playing career reached the end of the road, as he appeared in only 19 games, five in the outfield, and batted only .188 with six hits. He finished with a .297 batting average in 1,131 MLB games played, 52 home runs, 91 triples, 173 doubles, 661 runs scored, and 561 RBI. He stole 138 bases in his career and had double-digit steal totals in eight seasons. As a big leaguer, Southworth had 1,296 hits in 4,359 at bats.  His 1929 MLB managerial debut was not much more successful than his playing stint. Only one year removed from being a teammate of his charges, he attempted to impose discipline on the Cardinals, banning them from driving their own automobiles. The team did not respond to his hard line and won only 43 of their first 88 games. Southworth was sent back to Rochester on July 21, McKechnie was rehired, and the Cardinals finished in fourth place.  Although Southworth immediately resumed his successful minor league managerial career, the firing and personal tragedy -- the death of his wife Lida at age 42 -- began a downward spiral. Beset by struggles with alcoholism, he quit a coaching job with the 1933 Giants during spring training and left baseball for two seasons. After a recovery, he rejoined the Cardinals' minor league system in 1935 and by 1939 he was again enjoying success as Rochester's manager. He remarried in 1935, wedding the former Mabel Stemen, and had a daughter. CANNOTANSWER

Question: Was Billy Southworth a good manager for the Rochester Red Wings?
Answer: The team won the IL championship that season.
Billy Southworth

Context: Southworth's managerial career began in 1928 with the Rochester Red Wings of the AA International League (IL), the top club in the Cardinals' farm system. In May, Southworth and his wife experienced the stillbirths of twins. Southworth returned home after losing the twins, but he quickly came back to Rochester. Late in the season, Southworth received word that Billy Jr. had been accidentally shot by a neighbor in Columbus. His son recovered, but the experience shook the manager. The team won the IL championship that season.  Southworth was promoted to St. Louis as player-manager for 1929, replacing Bill McKechnie, who won a National League pennant in 1928 and lost the World Series in four straight games to the New York Yankees. Southworth's Major League playing career reached the end of the road, as he appeared in only 19 games, five in the outfield, and batted only .188 with six hits. He finished with a .297 batting average in 1,131 MLB games played, 52 home runs, 91 triples, 173 doubles, 661 runs scored, and 561 RBI. He stole 138 bases in his career and had double-digit steal totals in eight seasons. As a big leaguer, Southworth had 1,296 hits in 4,359 at bats.  His 1929 MLB managerial debut was not much more successful than his playing stint. Only one year removed from being a teammate of his charges, he attempted to impose discipline on the Cardinals, banning them from driving their own automobiles. The team did not respond to his hard line and won only 43 of their first 88 games. Southworth was sent back to Rochester on July 21, McKechnie was rehired, and the Cardinals finished in fourth place.  Although Southworth immediately resumed his successful minor league managerial career, the firing and personal tragedy -- the death of his wife Lida at age 42 -- began a downward spiral. Beset by struggles with alcoholism, he quit a coaching job with the 1933 Giants during spring training and left baseball for two seasons. After a recovery, he rejoined the Cardinals' minor league system in 1935 and by 1939 he was again enjoying success as Rochester's manager. He remarried in 1935, wedding the former Mabel Stemen, and had a daughter. CANNOTANSWER

Question: What was Billy Southworth's strategy as a team manager?
Answer: he attempted to impose discipline on the Cardinals,
Billy Southworth

Context: Southworth's managerial career began in 1928 with the Rochester Red Wings of the AA International League (IL), the top club in the Cardinals' farm system. In May, Southworth and his wife experienced the stillbirths of twins. Southworth returned home after losing the twins, but he quickly came back to Rochester. Late in the season, Southworth received word that Billy Jr. had been accidentally shot by a neighbor in Columbus. His son recovered, but the experience shook the manager. The team won the IL championship that season.  Southworth was promoted to St. Louis as player-manager for 1929, replacing Bill McKechnie, who won a National League pennant in 1928 and lost the World Series in four straight games to the New York Yankees. Southworth's Major League playing career reached the end of the road, as he appeared in only 19 games, five in the outfield, and batted only .188 with six hits. He finished with a .297 batting average in 1,131 MLB games played, 52 home runs, 91 triples, 173 doubles, 661 runs scored, and 561 RBI. He stole 138 bases in his career and had double-digit steal totals in eight seasons. As a big leaguer, Southworth had 1,296 hits in 4,359 at bats.  His 1929 MLB managerial debut was not much more successful than his playing stint. Only one year removed from being a teammate of his charges, he attempted to impose discipline on the Cardinals, banning them from driving their own automobiles. The team did not respond to his hard line and won only 43 of their first 88 games. Southworth was sent back to Rochester on July 21, McKechnie was rehired, and the Cardinals finished in fourth place.  Although Southworth immediately resumed his successful minor league managerial career, the firing and personal tragedy -- the death of his wife Lida at age 42 -- began a downward spiral. Beset by struggles with alcoholism, he quit a coaching job with the 1933 Giants during spring training and left baseball for two seasons. After a recovery, he rejoined the Cardinals' minor league system in 1935 and by 1939 he was again enjoying success as Rochester's manager. He remarried in 1935, wedding the former Mabel Stemen, and had a daughter. CANNOTANSWER

Question: Did Billy Southworth work with anyone of note?
Answer: CANNOTANSWER