gaussalgo/Canard_Wiki-augmented huggingface dataset:
G-Unit

Context: 50 Cent signed to Interscope Records. Due to the success of his commercial debut album, Get Rich or Die Tryin', he was granted his own record label. This was when G-Unit Records was created. G-Unit gained more popularity when a remix to 50 Cent's "P.I.M.P." was released, featuring Snoop Dogg and G-Unit.  But before the group had a chance to record its debut album, Tony Yayo was sentenced to prison for a gun-possession charge as well as bail-jumping. During Tony Yayo's prison sentence, 50 Cent signed Tennessee-based rapper Young Buck to G-Unit Records and subsequently added him to the group.  In 2003, the group's debut album Beg for Mercy, was released. However, while the album was being recorded, Tony Yayo was sentenced to jail on charges of gun possession. Therefore, he only makes two appearances, both were pre-recorded tracks. His face is seen on the brick wall of the album cover because he could not be photographed on account of his jail sentence. Beg for Mercy went on to sell 2.3 million copies in the US and 4 million copies worldwide. The only guest appearances on the album were R&B singers Joe and Butch Cassidy. The album's production was handled by high-profile producers such as Hi-Tek, Dr. Dre and Scott Storch, among several others. 50 Cent also served as the album's executive producer.  West Coast rapper The Game was originally placed into G-Unit by Dr. Dre and Jimmy Iovine of Interscope Records. Their plan was to market The Game as a devotee, or a card-carrying member of 50 Cent's "camp.". However, after a while, tensions began to rise between The Game and 50 Cent. 50 Cent also claimed that he did not receive proper credit for co-writing most of the songs on Game's debut album The Documentary (2005). CANNOTANSWER

Question: How long was Tony Yayo sentenced for?
Answer: CANNOTANSWER
G-Unit

Context: 50 Cent signed to Interscope Records. Due to the success of his commercial debut album, Get Rich or Die Tryin', he was granted his own record label. This was when G-Unit Records was created. G-Unit gained more popularity when a remix to 50 Cent's "P.I.M.P." was released, featuring Snoop Dogg and G-Unit.  But before the group had a chance to record its debut album, Tony Yayo was sentenced to prison for a gun-possession charge as well as bail-jumping. During Tony Yayo's prison sentence, 50 Cent signed Tennessee-based rapper Young Buck to G-Unit Records and subsequently added him to the group.  In 2003, the group's debut album Beg for Mercy, was released. However, while the album was being recorded, Tony Yayo was sentenced to jail on charges of gun possession. Therefore, he only makes two appearances, both were pre-recorded tracks. His face is seen on the brick wall of the album cover because he could not be photographed on account of his jail sentence. Beg for Mercy went on to sell 2.3 million copies in the US and 4 million copies worldwide. The only guest appearances on the album were R&B singers Joe and Butch Cassidy. The album's production was handled by high-profile producers such as Hi-Tek, Dr. Dre and Scott Storch, among several others. 50 Cent also served as the album's executive producer.  West Coast rapper The Game was originally placed into G-Unit by Dr. Dre and Jimmy Iovine of Interscope Records. Their plan was to market The Game as a devotee, or a card-carrying member of 50 Cent's "camp.". However, after a while, tensions began to rise between The Game and 50 Cent. 50 Cent also claimed that he did not receive proper credit for co-writing most of the songs on Game's debut album The Documentary (2005). CANNOTANSWER

Question: What other success did G-Unit have in addition to releasing Beg for Mercy?
Answer: G-Unit gained more popularity when a remix to 50 Cent's "P.I.M.P." was released, featuring Snoop Dogg and G-Unit.
Margaret Sanger

Context: Sanger worked with African American leaders and professionals who saw a need for birth control in their communities. In 1929, James H. Hubert, a black social worker and the leader of New York's Urban League, asked Sanger to open a clinic in Harlem. Sanger secured funding from the Julius Rosenwald Fund and opened the clinic, staffed with black doctors, in 1930. The clinic was directed by a 15-member advisory board consisting of black doctors, nurses, clergy, journalists, and social workers. The clinic was publicized in the African-American press as well as in black churches, and it received the approval of W. E. B. Du Bois, the co-founder of the NAACP and the editor of its magazine, The Crisis. Sanger did not tolerate bigotry among her staff, nor would she tolerate any refusal to work within interracial projects. Sanger's work with minorities earned praise from Martin Luther King, Jr., in his 1966 acceptance speech for the Margaret Sanger award.  From 1939 to 1942 Sanger was an honorary delegate of the Birth Control Federation of America, which included a supervisory role--alongside Mary Lasker and Clarence Gamble--in the Negro Project, an effort to deliver birth control to poor black people. Sanger, over the objections of other supervisors, wanted the Negro Project to hire black ministers in leadership roles. To emphasize the benefits of hiring black community leaders to act as spokesmen, she wrote to Gamble:  We should hire three or four colored ministers, preferably with social-service backgrounds, and with engaging personalities. The most successful educational approach to the Negro is through a religious appeal. We don't want the word to go out that we want to exterminate the Negro population, and the minister is the man who can straighten out that idea if it ever occurs to any of their more rebellious members.  New York University's Margaret Sanger Papers Project says that though the letter would have been meant to avoid the mistaken notion that the Negro Project was a racist campaign, conspiracy theorists have fraudulently attempted to exploit the quotation "as evidence she led a calculated effort to reduce the black population against their will". CANNOTANSWER

Question: What kind of work did Margaret Sanger do with the African-American community?
Answer: From 1939 to 1942 Sanger was an honorary delegate of the Birth Control Federation of America, which included a supervisory role
Margaret Sanger

Context: Sanger worked with African American leaders and professionals who saw a need for birth control in their communities. In 1929, James H. Hubert, a black social worker and the leader of New York's Urban League, asked Sanger to open a clinic in Harlem. Sanger secured funding from the Julius Rosenwald Fund and opened the clinic, staffed with black doctors, in 1930. The clinic was directed by a 15-member advisory board consisting of black doctors, nurses, clergy, journalists, and social workers. The clinic was publicized in the African-American press as well as in black churches, and it received the approval of W. E. B. Du Bois, the co-founder of the NAACP and the editor of its magazine, The Crisis. Sanger did not tolerate bigotry among her staff, nor would she tolerate any refusal to work within interracial projects. Sanger's work with minorities earned praise from Martin Luther King, Jr., in his 1966 acceptance speech for the Margaret Sanger award.  From 1939 to 1942 Sanger was an honorary delegate of the Birth Control Federation of America, which included a supervisory role--alongside Mary Lasker and Clarence Gamble--in the Negro Project, an effort to deliver birth control to poor black people. Sanger, over the objections of other supervisors, wanted the Negro Project to hire black ministers in leadership roles. To emphasize the benefits of hiring black community leaders to act as spokesmen, she wrote to Gamble:  We should hire three or four colored ministers, preferably with social-service backgrounds, and with engaging personalities. The most successful educational approach to the Negro is through a religious appeal. We don't want the word to go out that we want to exterminate the Negro population, and the minister is the man who can straighten out that idea if it ever occurs to any of their more rebellious members.  New York University's Margaret Sanger Papers Project says that though the letter would have been meant to avoid the mistaken notion that the Negro Project was a racist campaign, conspiracy theorists have fraudulently attempted to exploit the quotation "as evidence she led a calculated effort to reduce the black population against their will". CANNOTANSWER

Question: Was Margaret Sanger arrested for her work with the African-American community?
Answer: CANNOTANSWER
Margaret Sanger

Context: Sanger worked with African American leaders and professionals who saw a need for birth control in their communities. In 1929, James H. Hubert, a black social worker and the leader of New York's Urban League, asked Sanger to open a clinic in Harlem. Sanger secured funding from the Julius Rosenwald Fund and opened the clinic, staffed with black doctors, in 1930. The clinic was directed by a 15-member advisory board consisting of black doctors, nurses, clergy, journalists, and social workers. The clinic was publicized in the African-American press as well as in black churches, and it received the approval of W. E. B. Du Bois, the co-founder of the NAACP and the editor of its magazine, The Crisis. Sanger did not tolerate bigotry among her staff, nor would she tolerate any refusal to work within interracial projects. Sanger's work with minorities earned praise from Martin Luther King, Jr., in his 1966 acceptance speech for the Margaret Sanger award.  From 1939 to 1942 Sanger was an honorary delegate of the Birth Control Federation of America, which included a supervisory role--alongside Mary Lasker and Clarence Gamble--in the Negro Project, an effort to deliver birth control to poor black people. Sanger, over the objections of other supervisors, wanted the Negro Project to hire black ministers in leadership roles. To emphasize the benefits of hiring black community leaders to act as spokesmen, she wrote to Gamble:  We should hire three or four colored ministers, preferably with social-service backgrounds, and with engaging personalities. The most successful educational approach to the Negro is through a religious appeal. We don't want the word to go out that we want to exterminate the Negro population, and the minister is the man who can straighten out that idea if it ever occurs to any of their more rebellious members.  New York University's Margaret Sanger Papers Project says that though the letter would have been meant to avoid the mistaken notion that the Negro Project was a racist campaign, conspiracy theorists have fraudulently attempted to exploit the quotation "as evidence she led a calculated effort to reduce the black population against their will". CANNOTANSWER

Question: Besides being the delegate of the Birth Control Federation of America, what other facts can you tell me about how Margaret Sanger worked with the african-american community?
Answer: Sanger was an honorary delegate of the Birth Control Federation of America, which included a supervisory role
Margaret Sanger

Context: Sanger worked with African American leaders and professionals who saw a need for birth control in their communities. In 1929, James H. Hubert, a black social worker and the leader of New York's Urban League, asked Sanger to open a clinic in Harlem. Sanger secured funding from the Julius Rosenwald Fund and opened the clinic, staffed with black doctors, in 1930. The clinic was directed by a 15-member advisory board consisting of black doctors, nurses, clergy, journalists, and social workers. The clinic was publicized in the African-American press as well as in black churches, and it received the approval of W. E. B. Du Bois, the co-founder of the NAACP and the editor of its magazine, The Crisis. Sanger did not tolerate bigotry among her staff, nor would she tolerate any refusal to work within interracial projects. Sanger's work with minorities earned praise from Martin Luther King, Jr., in his 1966 acceptance speech for the Margaret Sanger award.  From 1939 to 1942 Sanger was an honorary delegate of the Birth Control Federation of America, which included a supervisory role--alongside Mary Lasker and Clarence Gamble--in the Negro Project, an effort to deliver birth control to poor black people. Sanger, over the objections of other supervisors, wanted the Negro Project to hire black ministers in leadership roles. To emphasize the benefits of hiring black community leaders to act as spokesmen, she wrote to Gamble:  We should hire three or four colored ministers, preferably with social-service backgrounds, and with engaging personalities. The most successful educational approach to the Negro is through a religious appeal. We don't want the word to go out that we want to exterminate the Negro population, and the minister is the man who can straighten out that idea if it ever occurs to any of their more rebellious members.  New York University's Margaret Sanger Papers Project says that though the letter would have been meant to avoid the mistaken notion that the Negro Project was a racist campaign, conspiracy theorists have fraudulently attempted to exploit the quotation "as evidence she led a calculated effort to reduce the black population against their will". CANNOTANSWER

Question: When did Margaret Sanger stop working with birth control federation of america?
Answer: 1942
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: When did Alma-Tadema move to Belgium?
Answer: In 1852 he entered the Royal Academy of Antwerp in Belgium
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: How long was Alma-Tadema in the Royal Academy of Antwerp in Belgium?
Answer: CANNOTANSWER
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: Did Alma-Tadema have any favorite classes?
Answer: he studied early Dutch and Flemish art, under Gustaf Wappers.
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: Did Alma-Tadema enjoy school?
Answer: whose courses in history and historical costume he had greatly enjoyed at the Academy.
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: Did Alma-Tadema paint anything of note at the Royal Academy of Antwerp?
Answer: Alma-Tadema painted his first major work: The Education of the children of Clovis (1861).
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: Anything you found interesting about the Education of the Children of Clovis painting?
Answer: The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium.
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: Was The Education of the Children of Clovis painting in any exhibitions?
Answer: This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp.
Lawrence Alma-Tadema

Context: In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several respectable awards.  Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.  Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese.  Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was honorably received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. CANNOTANSWER

Question: When did Alma-Tadema leave Belgium?
Answer: CANNOTANSWER
Meher Baba

Context: In God Speaks, Meher Baba describes the journey of the soul from its original state of unconscious divinity to the ultimate attainment of conscious divinity. The whole journey is a journey of imagination, where the original indivisible state of God imagines becoming countless individualized souls which he likens to bubbles within an infinite ocean. Each soul, powered by the desire to become conscious, starts its journey in the most rudimentary form of consciousness. This limitation brings the need of a more developed form to advance it towards an increasingly conscious state. Consciousness grows in relation to the impressions each form is capable of gathering.  According to Baba, each soul pursues conscious divinity by evolving: that is, experiencing itself in a succession of imagined forms through seven "kingdoms": stone/metal, vegetable, worm, fish, bird, animal, and human. The soul identifies itself with each successive form, becoming thus tied to illusion. During this evolution of forms thinking also increases, until in human form thinking becomes infinite. Although in human form the soul is capable of conscious divinity, all the impressions that it has gathered during evolution are illusory ones, creating a barrier for the soul to know itself. For this barrier to be overcome, further births in human form are needed in a process named reincarnation.  Eventually the soul reaches a stage where its previously gathered impressions grow thin or weak enough that it enters a final stage called involution. This stage also requires a series of human births, during which the soul begins an inner journey, by which it realizes its true identity as God. Baba breaks this inner journey of Realization into seven stages he calls "planes." The whole process culminates at the seventh plane with God-realization, where the goal of life for the individual soul is reached. CANNOTANSWER

Question: How many followers did Meher Baba have?
Answer: CANNOTANSWER
Meher Baba

Context: In God Speaks, Meher Baba describes the journey of the soul from its original state of unconscious divinity to the ultimate attainment of conscious divinity. The whole journey is a journey of imagination, where the original indivisible state of God imagines becoming countless individualized souls which he likens to bubbles within an infinite ocean. Each soul, powered by the desire to become conscious, starts its journey in the most rudimentary form of consciousness. This limitation brings the need of a more developed form to advance it towards an increasingly conscious state. Consciousness grows in relation to the impressions each form is capable of gathering.  According to Baba, each soul pursues conscious divinity by evolving: that is, experiencing itself in a succession of imagined forms through seven "kingdoms": stone/metal, vegetable, worm, fish, bird, animal, and human. The soul identifies itself with each successive form, becoming thus tied to illusion. During this evolution of forms thinking also increases, until in human form thinking becomes infinite. Although in human form the soul is capable of conscious divinity, all the impressions that it has gathered during evolution are illusory ones, creating a barrier for the soul to know itself. For this barrier to be overcome, further births in human form are needed in a process named reincarnation.  Eventually the soul reaches a stage where its previously gathered impressions grow thin or weak enough that it enters a final stage called involution. This stage also requires a series of human births, during which the soul begins an inner journey, by which it realizes its true identity as God. Baba breaks this inner journey of Realization into seven stages he calls "planes." The whole process culminates at the seventh plane with God-realization, where the goal of life for the individual soul is reached. CANNOTANSWER

Question: What did god say to Meher Baba?
Answer: In God Speaks, Meher Baba describes the journey of the soul from its original state of unconscious divinity to the ultimate attainment of conscious divinity.
Meher Baba

Context: In God Speaks, Meher Baba describes the journey of the soul from its original state of unconscious divinity to the ultimate attainment of conscious divinity. The whole journey is a journey of imagination, where the original indivisible state of God imagines becoming countless individualized souls which he likens to bubbles within an infinite ocean. Each soul, powered by the desire to become conscious, starts its journey in the most rudimentary form of consciousness. This limitation brings the need of a more developed form to advance it towards an increasingly conscious state. Consciousness grows in relation to the impressions each form is capable of gathering.  According to Baba, each soul pursues conscious divinity by evolving: that is, experiencing itself in a succession of imagined forms through seven "kingdoms": stone/metal, vegetable, worm, fish, bird, animal, and human. The soul identifies itself with each successive form, becoming thus tied to illusion. During this evolution of forms thinking also increases, until in human form thinking becomes infinite. Although in human form the soul is capable of conscious divinity, all the impressions that it has gathered during evolution are illusory ones, creating a barrier for the soul to know itself. For this barrier to be overcome, further births in human form are needed in a process named reincarnation.  Eventually the soul reaches a stage where its previously gathered impressions grow thin or weak enough that it enters a final stage called involution. This stage also requires a series of human births, during which the soul begins an inner journey, by which it realizes its true identity as God. Baba breaks this inner journey of Realization into seven stages he calls "planes." The whole process culminates at the seventh plane with God-realization, where the goal of life for the individual soul is reached. CANNOTANSWER

Question: Did anyone help Meher Baba on his journey in God Speaks?
Answer: CANNOTANSWER
Meher Baba

Context: In God Speaks, Meher Baba describes the journey of the soul from its original state of unconscious divinity to the ultimate attainment of conscious divinity. The whole journey is a journey of imagination, where the original indivisible state of God imagines becoming countless individualized souls which he likens to bubbles within an infinite ocean. Each soul, powered by the desire to become conscious, starts its journey in the most rudimentary form of consciousness. This limitation brings the need of a more developed form to advance it towards an increasingly conscious state. Consciousness grows in relation to the impressions each form is capable of gathering.  According to Baba, each soul pursues conscious divinity by evolving: that is, experiencing itself in a succession of imagined forms through seven "kingdoms": stone/metal, vegetable, worm, fish, bird, animal, and human. The soul identifies itself with each successive form, becoming thus tied to illusion. During this evolution of forms thinking also increases, until in human form thinking becomes infinite. Although in human form the soul is capable of conscious divinity, all the impressions that it has gathered during evolution are illusory ones, creating a barrier for the soul to know itself. For this barrier to be overcome, further births in human form are needed in a process named reincarnation.  Eventually the soul reaches a stage where its previously gathered impressions grow thin or weak enough that it enters a final stage called involution. This stage also requires a series of human births, during which the soul begins an inner journey, by which it realizes its true identity as God. Baba breaks this inner journey of Realization into seven stages he calls "planes." The whole process culminates at the seventh plane with God-realization, where the goal of life for the individual soul is reached. CANNOTANSWER

Question: When did Meher Baba write God Speaks?
Answer: CANNOTANSWER
Erich Ludendorff

Context: In 1885, Ludendorff was commissioned as a subaltern into the 57th Infantry Regiment, then at Wesel. Over the next eight years, he was promoted to lieutenant and saw further service in the 2nd Marine Battalion, based at Kiel and Wilhelmshaven, and in the 8th Grenadier Guards at Frankfurt on the Oder. His service reports reveal the highest praise, with frequent commendations. In 1893, he entered the War Academy, where the commandant, General Meckel, recommended him to the General Staff, to which he was appointed in 1894. He rose rapidly and was a senior staff officer at the headquarters of V Corps from 1902 to 1904.  Next he joined the Great General Staff in Berlin, which was commanded by Alfred von Schlieffen, Ludendorff directed the Second or Mobilization Section from 1904-13. Soon he was joined by Max Bauer, a brilliant artillery officer, who became a close friend. By 1911, Ludendorff was a full colonel. His section was responsible for writing the mass of detailed orders needed to bring the mobilized troops into position to implement the Schlieffen Plan. For this they covertly surveyed frontier fortifications in Russia, France and Belgium. For instance, in 1911 Ludendorff visited the key Belgian fortress city of Liege.  Deputies of the Social Democratic Party of Germany, which became the largest party in the Reichstag after the German federal elections of 1912, seldom gave priority to army expenditures, whether to build up its reserves or to fund advanced weaponry such as Krupp's siege cannons. Instead, they preferred to concentrate military spending on the Imperial German Navy. Ludendorff's calculations showed that to properly implement the Schlieffen Plan the Army lacked six corps.  Members of the General Staff were instructed to keep out of politics and the public eye, but Ludendorff shrugged off such restrictions. With a retired general, August Keim, and the head of the Pan-German League, Heinrich Class, he vigorously lobbied the Reichstag for the additional men. In 1913 funding was approved for four additional corps but Ludendorff was transferred to regimental duties as commander of the 39th (Lower Rhine) Fusiliers, stationed at Dusseldorf. "I attributed the change partly for my having pressed for those three additional army corps."  Barbara Tuchman characterizes Ludendorff in her book The Guns of August as Schlieffen's devoted disciple who was a glutton for work and a man of granite character but who was deliberately friendless and forbidding and therefore remained little known or liked. It is true that as his wife testified, "Anyone who knows Ludendorff knows that he has not a spark of humor...". He was voluble nonetheless, although he shunned small talk. John Lee, states that while Ludendorff was with his Fusiliers, "he became the perfect regimental commander ... the younger officers came to adore him." His adjutant, Wilhelm Breucker, became a devoted lifelong friend. CANNOTANSWER

Question: Is there anything interesting about Erich Ludendorff Pre-war military career?
Answer: In 1885, Ludendorff was commissioned as a subaltern into the 57th Infantry Regiment, then at Wesel.
Erich Ludendorff

Context: In 1885, Ludendorff was commissioned as a subaltern into the 57th Infantry Regiment, then at Wesel. Over the next eight years, he was promoted to lieutenant and saw further service in the 2nd Marine Battalion, based at Kiel and Wilhelmshaven, and in the 8th Grenadier Guards at Frankfurt on the Oder. His service reports reveal the highest praise, with frequent commendations. In 1893, he entered the War Academy, where the commandant, General Meckel, recommended him to the General Staff, to which he was appointed in 1894. He rose rapidly and was a senior staff officer at the headquarters of V Corps from 1902 to 1904.  Next he joined the Great General Staff in Berlin, which was commanded by Alfred von Schlieffen, Ludendorff directed the Second or Mobilization Section from 1904-13. Soon he was joined by Max Bauer, a brilliant artillery officer, who became a close friend. By 1911, Ludendorff was a full colonel. His section was responsible for writing the mass of detailed orders needed to bring the mobilized troops into position to implement the Schlieffen Plan. For this they covertly surveyed frontier fortifications in Russia, France and Belgium. For instance, in 1911 Ludendorff visited the key Belgian fortress city of Liege.  Deputies of the Social Democratic Party of Germany, which became the largest party in the Reichstag after the German federal elections of 1912, seldom gave priority to army expenditures, whether to build up its reserves or to fund advanced weaponry such as Krupp's siege cannons. Instead, they preferred to concentrate military spending on the Imperial German Navy. Ludendorff's calculations showed that to properly implement the Schlieffen Plan the Army lacked six corps.  Members of the General Staff were instructed to keep out of politics and the public eye, but Ludendorff shrugged off such restrictions. With a retired general, August Keim, and the head of the Pan-German League, Heinrich Class, he vigorously lobbied the Reichstag for the additional men. In 1913 funding was approved for four additional corps but Ludendorff was transferred to regimental duties as commander of the 39th (Lower Rhine) Fusiliers, stationed at Dusseldorf. "I attributed the change partly for my having pressed for those three additional army corps."  Barbara Tuchman characterizes Ludendorff in her book The Guns of August as Schlieffen's devoted disciple who was a glutton for work and a man of granite character but who was deliberately friendless and forbidding and therefore remained little known or liked. It is true that as his wife testified, "Anyone who knows Ludendorff knows that he has not a spark of humor...". He was voluble nonetheless, although he shunned small talk. John Lee, states that while Ludendorff was with his Fusiliers, "he became the perfect regimental commander ... the younger officers came to adore him." His adjutant, Wilhelm Breucker, became a devoted lifelong friend. CANNOTANSWER

Question: Where was Erich Ludendorff based after Pre-war military career?
Answer: Over the next eight years, he was promoted to lieutenant and saw further service in the 2nd Marine Battalion, based at Kiel and Wilhelmshaven,
Erich Ludendorff

Context: In 1885, Ludendorff was commissioned as a subaltern into the 57th Infantry Regiment, then at Wesel. Over the next eight years, he was promoted to lieutenant and saw further service in the 2nd Marine Battalion, based at Kiel and Wilhelmshaven, and in the 8th Grenadier Guards at Frankfurt on the Oder. His service reports reveal the highest praise, with frequent commendations. In 1893, he entered the War Academy, where the commandant, General Meckel, recommended him to the General Staff, to which he was appointed in 1894. He rose rapidly and was a senior staff officer at the headquarters of V Corps from 1902 to 1904.  Next he joined the Great General Staff in Berlin, which was commanded by Alfred von Schlieffen, Ludendorff directed the Second or Mobilization Section from 1904-13. Soon he was joined by Max Bauer, a brilliant artillery officer, who became a close friend. By 1911, Ludendorff was a full colonel. His section was responsible for writing the mass of detailed orders needed to bring the mobilized troops into position to implement the Schlieffen Plan. For this they covertly surveyed frontier fortifications in Russia, France and Belgium. For instance, in 1911 Ludendorff visited the key Belgian fortress city of Liege.  Deputies of the Social Democratic Party of Germany, which became the largest party in the Reichstag after the German federal elections of 1912, seldom gave priority to army expenditures, whether to build up its reserves or to fund advanced weaponry such as Krupp's siege cannons. Instead, they preferred to concentrate military spending on the Imperial German Navy. Ludendorff's calculations showed that to properly implement the Schlieffen Plan the Army lacked six corps.  Members of the General Staff were instructed to keep out of politics and the public eye, but Ludendorff shrugged off such restrictions. With a retired general, August Keim, and the head of the Pan-German League, Heinrich Class, he vigorously lobbied the Reichstag for the additional men. In 1913 funding was approved for four additional corps but Ludendorff was transferred to regimental duties as commander of the 39th (Lower Rhine) Fusiliers, stationed at Dusseldorf. "I attributed the change partly for my having pressed for those three additional army corps."  Barbara Tuchman characterizes Ludendorff in her book The Guns of August as Schlieffen's devoted disciple who was a glutton for work and a man of granite character but who was deliberately friendless and forbidding and therefore remained little known or liked. It is true that as his wife testified, "Anyone who knows Ludendorff knows that he has not a spark of humor...". He was voluble nonetheless, although he shunned small talk. John Lee, states that while Ludendorff was with his Fusiliers, "he became the perfect regimental commander ... the younger officers came to adore him." His adjutant, Wilhelm Breucker, became a devoted lifelong friend. CANNOTANSWER

Question: What was Erich Ludendorff highest rank?
Answer: He rose rapidly and was a senior staff officer at the headquarters of V Corps from 1902 to 1904.