gaussalgo/Canard_Wiki-augmented huggingface dataset:
The Blues Brothers (film)

Context: The characters, Jake and Elwood Blues, were created by Belushi and Aykroyd in performances on Saturday Night Live. The name "The Blues Brothers" was the idea of Howard Shore. The fictional back story and character sketches of blood brothers Jake and Elwood were developed by Aykroyd in collaboration with Ron Gwynne, who is credited as a story consultant for the film. As related in the liner notes of the band's debut album, Briefcase Full of Blues, the brothers grew up in an orphanage, learned the blues from a janitor named Curtis, and sealed their brotherhood by cutting their middle fingers with a steel string said to have come from the guitar of Elmore James.  Belushi had become a star in 1978 as a result of both the Blues Brothers' musical success and his role in National Lampoon's Animal House. At one point, he managed the triple feat of being the star of the week's top-grossing film, top-rated television show, and singing on the number-one album within a year. When Aykroyd and Belushi decided they could make a Blues Brothers film, the bidding war was intense. Universal Studios narrowly beat Paramount Pictures for the project. John Landis, who had directed Belushi in Animal House, was aboard as director.  However, the project had neither a budget nor a script. On the former issue, Universal head Lew Wasserman thought the film could be made for $12 million; the filmmakers wanted $20 million. It would be impossible to settle on a specific amount without a screenplay to review, and after Mitch Glazer declined to help him, Aykroyd wrote one on his own.  Aykroyd had never written a screenplay before, as he admitted in the 1998 documentary, Stories Behind the Making of The Blues Brothers, or even read one, and he was unable to find a writing partner. Consequently, he put together a very descriptive volume that explained the characters' origins and how the band members were recruited. His final draft was 324 pages, which was three times longer than a standard screenplay, written not in a standard screenplay format, but more like free verse. To soften the impact, Aykroyd made a joke of the thick script and had it bound with the cover of the Los Angeles Yellow Pages directory for when he turned it in to producer Robert K. Weiss. Landis was given the task of editing the script into a usable screenplay, which took him about two weeks.  The overriding plot premise was unrealistic: religious groups and other not-for-profit organizations are typically exempt from federal or state taxes; although a legislative proposal to tax such property was under consideration in Illinois at the time. CANNOTANSWER

Question: How well did "The Blues Brothers" do in theaters?
Answer: CANNOTANSWER
Matt Hardy

Context: Shortly after the departure of Matt and Jeff from TNA was made public, Matt's wife, Reby, went on a social media tirade in which she repeatedly slammed TNA, the company's new management and the way in which contract negotiations between the company and the Hardy family were conducted. A few weeks following this, the bad blood between the two sides intensified, so much so that the new management of TNA (now renamed Impact Wrestling) Anthem Sports & Entertainment issued a cease and desist letter to The Hardys' new promotion Ring of Honor (ROH), in which Anthem essentially ordered ROH as well as any broadcasting company airing ROH's 15th Anniversary pay-per-view show (on which The Hardys were to participate in a match) to not in any way speak of, indicate or acknowledge the existence of the Broken Matt and Brother Nero characters and instead to refer to The Hardys as simply Matt Hardy and Jeff Hardy. The issue with this is that while The Hardys were in TNA, they had full creative control over the Broken gimmick, with them even filming their own segments to air on TNA programming in some circumstances, thus making the Hardy family (in their belief) the owners of the Broken gimmick. It is believed that civil litigation will follow and a potential court hearing will take place regarding the final outcome on who owns the Broken gimmick: Anthem or the Hardy family. Until then, the status of the Broken gimmick remains undecided. Despite this, Matt continues to use the Broken gimmick through his social media accounts, but neither him or Jeff use the Broken gimmick at any professional wrestling shows for ROH or on the independent circuit, presumably until the results of the expected legal proceedings have been finalized.  Newly-appointed Impact Wrestling President Ed Nordholm credits the invention of and the vision behind the Broken gimmick to Jeremy Borash, Dave Lagana and Billy Corgan, and while Borash specifically had the most input into the gimmick of the three aside from Matt, the Hardy family deny that Borash was the sole person behind the gimmick. In November 2017, Impact Wrestling changed their policy, allowing all talent to retain complete ownership over their intellectual property, essentially forfeiting ownership of the "Broken" character to Hardy.  On January 31, 2018, the legal battle officially concluded when Matt legally acquired ownership of all trademarks related to the Broken universe and the Broken gimmick, which includes 'Broken Matt', 'Brother Nero', 'Broken Brilliance' and 'Vanguard1'. Matt is now able to use the Broken gimmick as he sees fit, regardless of the promotion he competes in with the one caveat being that the promotion green-lights the use of the gimmick in that promotion, which includes major domestic U.S. promotions such as WWE or ROH. CANNOTANSWER

Question: What was Matt Hardy's Broken gimmick legal battle about?
Answer: while The Hardys were in TNA, they had full creative control over the Broken gimmick,
Matt Hardy

Context: Shortly after the departure of Matt and Jeff from TNA was made public, Matt's wife, Reby, went on a social media tirade in which she repeatedly slammed TNA, the company's new management and the way in which contract negotiations between the company and the Hardy family were conducted. A few weeks following this, the bad blood between the two sides intensified, so much so that the new management of TNA (now renamed Impact Wrestling) Anthem Sports & Entertainment issued a cease and desist letter to The Hardys' new promotion Ring of Honor (ROH), in which Anthem essentially ordered ROH as well as any broadcasting company airing ROH's 15th Anniversary pay-per-view show (on which The Hardys were to participate in a match) to not in any way speak of, indicate or acknowledge the existence of the Broken Matt and Brother Nero characters and instead to refer to The Hardys as simply Matt Hardy and Jeff Hardy. The issue with this is that while The Hardys were in TNA, they had full creative control over the Broken gimmick, with them even filming their own segments to air on TNA programming in some circumstances, thus making the Hardy family (in their belief) the owners of the Broken gimmick. It is believed that civil litigation will follow and a potential court hearing will take place regarding the final outcome on who owns the Broken gimmick: Anthem or the Hardy family. Until then, the status of the Broken gimmick remains undecided. Despite this, Matt continues to use the Broken gimmick through his social media accounts, but neither him or Jeff use the Broken gimmick at any professional wrestling shows for ROH or on the independent circuit, presumably until the results of the expected legal proceedings have been finalized.  Newly-appointed Impact Wrestling President Ed Nordholm credits the invention of and the vision behind the Broken gimmick to Jeremy Borash, Dave Lagana and Billy Corgan, and while Borash specifically had the most input into the gimmick of the three aside from Matt, the Hardy family deny that Borash was the sole person behind the gimmick. In November 2017, Impact Wrestling changed their policy, allowing all talent to retain complete ownership over their intellectual property, essentially forfeiting ownership of the "Broken" character to Hardy.  On January 31, 2018, the legal battle officially concluded when Matt legally acquired ownership of all trademarks related to the Broken universe and the Broken gimmick, which includes 'Broken Matt', 'Brother Nero', 'Broken Brilliance' and 'Vanguard1'. Matt is now able to use the Broken gimmick as he sees fit, regardless of the promotion he competes in with the one caveat being that the promotion green-lights the use of the gimmick in that promotion, which includes major domestic U.S. promotions such as WWE or ROH. CANNOTANSWER

Question: What happened legally in the case of Matt Hardy's Broken gimmick?
Answer: legal battle officially concluded when Matt legally acquired ownership of all trademarks
Matt Hardy

Context: Shortly after the departure of Matt and Jeff from TNA was made public, Matt's wife, Reby, went on a social media tirade in which she repeatedly slammed TNA, the company's new management and the way in which contract negotiations between the company and the Hardy family were conducted. A few weeks following this, the bad blood between the two sides intensified, so much so that the new management of TNA (now renamed Impact Wrestling) Anthem Sports & Entertainment issued a cease and desist letter to The Hardys' new promotion Ring of Honor (ROH), in which Anthem essentially ordered ROH as well as any broadcasting company airing ROH's 15th Anniversary pay-per-view show (on which The Hardys were to participate in a match) to not in any way speak of, indicate or acknowledge the existence of the Broken Matt and Brother Nero characters and instead to refer to The Hardys as simply Matt Hardy and Jeff Hardy. The issue with this is that while The Hardys were in TNA, they had full creative control over the Broken gimmick, with them even filming their own segments to air on TNA programming in some circumstances, thus making the Hardy family (in their belief) the owners of the Broken gimmick. It is believed that civil litigation will follow and a potential court hearing will take place regarding the final outcome on who owns the Broken gimmick: Anthem or the Hardy family. Until then, the status of the Broken gimmick remains undecided. Despite this, Matt continues to use the Broken gimmick through his social media accounts, but neither him or Jeff use the Broken gimmick at any professional wrestling shows for ROH or on the independent circuit, presumably until the results of the expected legal proceedings have been finalized.  Newly-appointed Impact Wrestling President Ed Nordholm credits the invention of and the vision behind the Broken gimmick to Jeremy Borash, Dave Lagana and Billy Corgan, and while Borash specifically had the most input into the gimmick of the three aside from Matt, the Hardy family deny that Borash was the sole person behind the gimmick. In November 2017, Impact Wrestling changed their policy, allowing all talent to retain complete ownership over their intellectual property, essentially forfeiting ownership of the "Broken" character to Hardy.  On January 31, 2018, the legal battle officially concluded when Matt legally acquired ownership of all trademarks related to the Broken universe and the Broken gimmick, which includes 'Broken Matt', 'Brother Nero', 'Broken Brilliance' and 'Vanguard1'. Matt is now able to use the Broken gimmick as he sees fit, regardless of the promotion he competes in with the one caveat being that the promotion green-lights the use of the gimmick in that promotion, which includes major domestic U.S. promotions such as WWE or ROH. CANNOTANSWER

Question: Who did Matt Hardy acquire ownership of the Broken gimmick trademarks from?
Answer: the Hardy family deny that Borash was the sole person behind the gimmick.
Matt Hardy

Context: Shortly after the departure of Matt and Jeff from TNA was made public, Matt's wife, Reby, went on a social media tirade in which she repeatedly slammed TNA, the company's new management and the way in which contract negotiations between the company and the Hardy family were conducted. A few weeks following this, the bad blood between the two sides intensified, so much so that the new management of TNA (now renamed Impact Wrestling) Anthem Sports & Entertainment issued a cease and desist letter to The Hardys' new promotion Ring of Honor (ROH), in which Anthem essentially ordered ROH as well as any broadcasting company airing ROH's 15th Anniversary pay-per-view show (on which The Hardys were to participate in a match) to not in any way speak of, indicate or acknowledge the existence of the Broken Matt and Brother Nero characters and instead to refer to The Hardys as simply Matt Hardy and Jeff Hardy. The issue with this is that while The Hardys were in TNA, they had full creative control over the Broken gimmick, with them even filming their own segments to air on TNA programming in some circumstances, thus making the Hardy family (in their belief) the owners of the Broken gimmick. It is believed that civil litigation will follow and a potential court hearing will take place regarding the final outcome on who owns the Broken gimmick: Anthem or the Hardy family. Until then, the status of the Broken gimmick remains undecided. Despite this, Matt continues to use the Broken gimmick through his social media accounts, but neither him or Jeff use the Broken gimmick at any professional wrestling shows for ROH or on the independent circuit, presumably until the results of the expected legal proceedings have been finalized.  Newly-appointed Impact Wrestling President Ed Nordholm credits the invention of and the vision behind the Broken gimmick to Jeremy Borash, Dave Lagana and Billy Corgan, and while Borash specifically had the most input into the gimmick of the three aside from Matt, the Hardy family deny that Borash was the sole person behind the gimmick. In November 2017, Impact Wrestling changed their policy, allowing all talent to retain complete ownership over their intellectual property, essentially forfeiting ownership of the "Broken" character to Hardy.  On January 31, 2018, the legal battle officially concluded when Matt legally acquired ownership of all trademarks related to the Broken universe and the Broken gimmick, which includes 'Broken Matt', 'Brother Nero', 'Broken Brilliance' and 'Vanguard1'. Matt is now able to use the Broken gimmick as he sees fit, regardless of the promotion he competes in with the one caveat being that the promotion green-lights the use of the gimmick in that promotion, which includes major domestic U.S. promotions such as WWE or ROH. CANNOTANSWER

Question: Are there any other interesting aspects about this article besides Matt Hardy's legal issues relating to the Broken gimmick?
Answer: Matt's wife, Reby, went on a social media tirade
Isidore of Seville

Context: Isidore was the first Christian writer to try to compile a summa of universal knowledge, in his most important work, the Etymologiae (taking its title from the method he uncritically used in the transcription of his era's knowledge). It is also known by classicists as the Origines (the standard abbreviation being Orig). This encyclopedia -- the first such Christian epitome--formed a huge compilation of 448 chapters in 20 volumes.  In it, as Isidore entered his own terse digest of Roman handbooks, miscellanies and compendia, he continued the trend towards abridgements and summaries that had characterised Roman learning in Late Antiquity. In the process, many fragments of classical learning are preserved which otherwise would have been hopelessly lost; "in fact, in the majority of his works, including the Origines, he contributes little more than the mortar which connects excerpts from other authors, as if he was aware of his deficiencies and had more confidence in the stilus maiorum than his own" his translator Katherine Nell MacFarlane remarks;  Some of these fragments were lost in the first place because Isidore's work was so highly regarded--Braulio called it quecunque fere sciri debentur, "practically everything that it is necessary to know"-- that it superseded the use of many individual works of the classics themselves, which were not recopied and have therefore been lost: "all secular knowledge that was of use to the Christian scholar had been winnowed out and contained in one handy volume; the scholar need search no further".  The fame of this work imparted a new impetus to encyclopedic writing, which bore abundant fruit in the subsequent centuries of the Middle Ages. It was the most popular compendium in medieval libraries. It was printed in at least ten editions between 1470 and 1530, showing Isidore's continued popularity in the Renaissance. Until the 12th century brought translations from Arabic sources, Isidore transmitted what western Europeans remembered of the works of Aristotle and other Greeks, although he understood only a limited amount of Greek. The Etymologiae was much copied, particularly into medieval bestiaries. CANNOTANSWER

Question: What is Etymologiae in regards to Isidore of Seville?
Answer: Etymologiae (taking its title from the method he
Isidore of Seville

Context: Isidore was the first Christian writer to try to compile a summa of universal knowledge, in his most important work, the Etymologiae (taking its title from the method he uncritically used in the transcription of his era's knowledge). It is also known by classicists as the Origines (the standard abbreviation being Orig). This encyclopedia -- the first such Christian epitome--formed a huge compilation of 448 chapters in 20 volumes.  In it, as Isidore entered his own terse digest of Roman handbooks, miscellanies and compendia, he continued the trend towards abridgements and summaries that had characterised Roman learning in Late Antiquity. In the process, many fragments of classical learning are preserved which otherwise would have been hopelessly lost; "in fact, in the majority of his works, including the Origines, he contributes little more than the mortar which connects excerpts from other authors, as if he was aware of his deficiencies and had more confidence in the stilus maiorum than his own" his translator Katherine Nell MacFarlane remarks;  Some of these fragments were lost in the first place because Isidore's work was so highly regarded--Braulio called it quecunque fere sciri debentur, "practically everything that it is necessary to know"-- that it superseded the use of many individual works of the classics themselves, which were not recopied and have therefore been lost: "all secular knowledge that was of use to the Christian scholar had been winnowed out and contained in one handy volume; the scholar need search no further".  The fame of this work imparted a new impetus to encyclopedic writing, which bore abundant fruit in the subsequent centuries of the Middle Ages. It was the most popular compendium in medieval libraries. It was printed in at least ten editions between 1470 and 1530, showing Isidore's continued popularity in the Renaissance. Until the 12th century brought translations from Arabic sources, Isidore transmitted what western Europeans remembered of the works of Aristotle and other Greeks, although he understood only a limited amount of Greek. The Etymologiae was much copied, particularly into medieval bestiaries. CANNOTANSWER

Question: How was Isidore of Seville involved with Etymologiae?
Answer: Isidore was the first Christian writer to try to compile a summa of universal knowledge, in his most important work, the Etymologiae (taking its title from the method he uncritically
Isidore of Seville

Context: Isidore was the first Christian writer to try to compile a summa of universal knowledge, in his most important work, the Etymologiae (taking its title from the method he uncritically used in the transcription of his era's knowledge). It is also known by classicists as the Origines (the standard abbreviation being Orig). This encyclopedia -- the first such Christian epitome--formed a huge compilation of 448 chapters in 20 volumes.  In it, as Isidore entered his own terse digest of Roman handbooks, miscellanies and compendia, he continued the trend towards abridgements and summaries that had characterised Roman learning in Late Antiquity. In the process, many fragments of classical learning are preserved which otherwise would have been hopelessly lost; "in fact, in the majority of his works, including the Origines, he contributes little more than the mortar which connects excerpts from other authors, as if he was aware of his deficiencies and had more confidence in the stilus maiorum than his own" his translator Katherine Nell MacFarlane remarks;  Some of these fragments were lost in the first place because Isidore's work was so highly regarded--Braulio called it quecunque fere sciri debentur, "practically everything that it is necessary to know"-- that it superseded the use of many individual works of the classics themselves, which were not recopied and have therefore been lost: "all secular knowledge that was of use to the Christian scholar had been winnowed out and contained in one handy volume; the scholar need search no further".  The fame of this work imparted a new impetus to encyclopedic writing, which bore abundant fruit in the subsequent centuries of the Middle Ages. It was the most popular compendium in medieval libraries. It was printed in at least ten editions between 1470 and 1530, showing Isidore's continued popularity in the Renaissance. Until the 12th century brought translations from Arabic sources, Isidore transmitted what western Europeans remembered of the works of Aristotle and other Greeks, although he understood only a limited amount of Greek. The Etymologiae was much copied, particularly into medieval bestiaries. CANNOTANSWER

Question: Besides Isidore of Seville being the first Christian writer to try to compile a summa of universal knowledge, Are there any other interesting aspects about this article?
Answer: The fame of this work imparted a new impetus to encyclopedic writing, which bore abundant fruit in the subsequent
Isidore of Seville

Context: Isidore was the first Christian writer to try to compile a summa of universal knowledge, in his most important work, the Etymologiae (taking its title from the method he uncritically used in the transcription of his era's knowledge). It is also known by classicists as the Origines (the standard abbreviation being Orig). This encyclopedia -- the first such Christian epitome--formed a huge compilation of 448 chapters in 20 volumes.  In it, as Isidore entered his own terse digest of Roman handbooks, miscellanies and compendia, he continued the trend towards abridgements and summaries that had characterised Roman learning in Late Antiquity. In the process, many fragments of classical learning are preserved which otherwise would have been hopelessly lost; "in fact, in the majority of his works, including the Origines, he contributes little more than the mortar which connects excerpts from other authors, as if he was aware of his deficiencies and had more confidence in the stilus maiorum than his own" his translator Katherine Nell MacFarlane remarks;  Some of these fragments were lost in the first place because Isidore's work was so highly regarded--Braulio called it quecunque fere sciri debentur, "practically everything that it is necessary to know"-- that it superseded the use of many individual works of the classics themselves, which were not recopied and have therefore been lost: "all secular knowledge that was of use to the Christian scholar had been winnowed out and contained in one handy volume; the scholar need search no further".  The fame of this work imparted a new impetus to encyclopedic writing, which bore abundant fruit in the subsequent centuries of the Middle Ages. It was the most popular compendium in medieval libraries. It was printed in at least ten editions between 1470 and 1530, showing Isidore's continued popularity in the Renaissance. Until the 12th century brought translations from Arabic sources, Isidore transmitted what western Europeans remembered of the works of Aristotle and other Greeks, although he understood only a limited amount of Greek. The Etymologiae was much copied, particularly into medieval bestiaries. CANNOTANSWER

Question: What were the abundant fruit assoiated with the fame of Etymologiae?
Answer: It was the most popular compendium in medieval libraries. It was printed in at least ten editions between 1470 and 1530, showing Isidore's continued popularity in the Renaissance.
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: Did Jascha Heifetz attend college?
Answer: CANNOTANSWER
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: Did Jascha Heifetz make any professional musical releases during his career?
Answer: Heifetz made his first recordings in Russia during 1910-11,
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: What was Jascha Heifetz's most famous work?
Answer: He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini,
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: Did Jascha Heifetz play any other instruments besides violin?
Answer: of Heifetz playing the Mendelssohn Violin Concerto,
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: Did Jascha Heifetz work with any musicians other than Arturo Toscanini?
Answer: Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: What type of music did Jascha Heifetz usually perform?
Answer: Heifetz often enjoyed playing chamber music.
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: In what format was Jascha Heifetz's music recorded?
Answer: CANNOTANSWER
Jascha Heifetz

Context: Heifetz made his first recordings in Russia during 1910-11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides, including Francois Schubert's L'Abeille, were reissued on an LP included as a supplement to The Strad magazine.  Shortly after his Carnegie Hall debut on 7 November 1917, Heifetz made his first recordings for the Victor Talking Machine Company/RCA Victor where he would remain for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA Victor cut back on expensive classical recording sessions during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker, violists William Primrose and Virginia Majewski, and Piatigorsky.  He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance of an NBC radio broadcast from 9 April 1944, of Heifetz playing the Mendelssohn Violin Concerto, with Toscanini and the NBC Symphony, has also been released.  He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him. CANNOTANSWER

Question: When was Jascha HEeifetz's last music recorded?
Answer: CANNOTANSWER
Daddy Yankee

Context: El Cartel: The Big Boss was released by Interscope on June 5, 2007. Ayala stated that the album marked a return to his hip-hop roots as opposed to being considered a strictly reggaeton album. The album was produced in 2006, and included the participation of will.i.am, Scott Storch, Tainy Tunes, Neli, and personnel from Ayala's label. Singles were produced with Hector Delgado, Fergie, Nicole Scherzinger and Akon. The first single from the album was titled "Impacto", and was released prior to the completion of the album. The album was promoted by a tour throughout the United States, which continued throughout Latin America. He performed in Mexico, first in Monterrey, where 10,000 attended the concert, and later at San Luis Potosi coliseum, where the concert sold out, leaving hundreds of fans outside the building. Ayala performed in Chile as well, and established a record for attendance in Ecuador. He also performed in Bolivia, setting another record when 50,000 fans attended his Santa Cruz de la Sierra concert. This show was later described as "the best show with the biggest attendance in history" and as "somehappy that his album had sold more than those of Juan Luis Guerra and Juanes, and that this was an "official proof that reggaeton's principal exponent defeated the rest of the genres".  Between 2007 and 2008, Ayala made several guest appearances in famous reggaeton compilation albums including Caribbean Connection, Echo Presenta: Invasion, Mas Flow: Los Benjamins, and 20 Number 1's Now.  He appeared on the 2008 Rockstar Games' video game Grand Theft Auto IV as the DJ of Radio San Juan Sounds, with spanglish lines. The radio includes reggaeton songs from Ayala's colleagues, like Wisin & Yandel, Hector "El Father", Tito El Bambino and Jowell & Randy. San Juan Sounds also featured Daddy Yankee's hit "Impacto".  In July 2008, Ayala announced that as part of his work, he would produce a cover version of Thalia's song, "Ten Paciencia". On 17 August 2008 was released his soundtrack album Talento De Barrio for the eponymous film. Prior to the album's release, Ayala scheduled several activities, including an in-store contract signing. The album was awarded as Multi-Platinum by RIAA on 17 April 2009. On February 27, 2009, he performed at the Vina del Mar International Song Festival in Chile. In this event, the artists receive awards based on the public's reaction. After performing "Rompe", "Llamado de emergencia", "Ella Me Levanto", "Gasolina", "Limpia Parabrisas" and "Lo Que Paso, Paso" over the course of two hours, Ayala received the "Silver Torch", "Gold Torch" and "Silver Seagull" recognitions. On April 24, 2009, he received the Spirit of Hope Award as part of the Latin Billboard Music Awards ceremony. The recognition is given to the artists that participate in their community or social efforts throughout the year. CANNOTANSWER

Question: What is El Cartel?
Answer: album