gaussalgo/Canard_Wiki-augmented huggingface dataset:
Richard Dawkins

Context: In his book, The Selfish Gene, Dawkins coined the word meme (the behavioural equivalent of a gene) as a way to encourage readers to think about how Darwinian principles might be extended beyond the realm of genes. It was intended as an extension of his "replicators" argument, but it took on a life of its own in the hands of other authors, such as Daniel Dennett and Susan Blackmore. These popularisations then led to the emergence of memetics, a field from which Dawkins has distanced himself.  Dawkins's meme refers to any cultural entity that an observer might consider a replicator of a certain idea or set of ideas. He hypothesised that people could view many cultural entities as capable of such replication, generally through communication and contact with humans, who have evolved as efficient (although not perfect) copiers of information and behaviour. Because memes are not always copied perfectly, they might become refined, combined, or otherwise modified with other ideas; this results in new memes, which may themselves prove more or less efficient replicators than their predecessors, thus providing a framework for a hypothesis of cultural evolution based on memes, a notion that is analogous to the theory of biological evolution based on genes.  Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel, and there have been other expressions for similar ideas in the past. For instance, John Laurent has suggested that the term may have derived from the work of the little-known German biologist Richard Semon. In 1904, Semon published Die Mneme (which appeared in English in 1924 as The Mneme). This book discusses the cultural transmission of experiences, with insights parallel to those of Dawkins. Laurent also found the term, mneme, used in Maurice Maeterlinck's The Life of the White Ant (1926), and has highlighted the similarities to Dawkins's concept. James Gleick describes Dawkins's concept of the meme as "his most famous memorable invention, far more influential than his selfish genes or his later proselytising against religiosity". CANNOTANSWER

Question: Besides Richard Dawkins fathering the meme, are there any other interesting aspects about this article?
Answer: Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel,
Richard Dawkins

Context: In his book, The Selfish Gene, Dawkins coined the word meme (the behavioural equivalent of a gene) as a way to encourage readers to think about how Darwinian principles might be extended beyond the realm of genes. It was intended as an extension of his "replicators" argument, but it took on a life of its own in the hands of other authors, such as Daniel Dennett and Susan Blackmore. These popularisations then led to the emergence of memetics, a field from which Dawkins has distanced himself.  Dawkins's meme refers to any cultural entity that an observer might consider a replicator of a certain idea or set of ideas. He hypothesised that people could view many cultural entities as capable of such replication, generally through communication and contact with humans, who have evolved as efficient (although not perfect) copiers of information and behaviour. Because memes are not always copied perfectly, they might become refined, combined, or otherwise modified with other ideas; this results in new memes, which may themselves prove more or less efficient replicators than their predecessors, thus providing a framework for a hypothesis of cultural evolution based on memes, a notion that is analogous to the theory of biological evolution based on genes.  Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel, and there have been other expressions for similar ideas in the past. For instance, John Laurent has suggested that the term may have derived from the work of the little-known German biologist Richard Semon. In 1904, Semon published Die Mneme (which appeared in English in 1924 as The Mneme). This book discusses the cultural transmission of experiences, with insights parallel to those of Dawkins. Laurent also found the term, mneme, used in Maurice Maeterlinck's The Life of the White Ant (1926), and has highlighted the similarities to Dawkins's concept. James Gleick describes Dawkins's concept of the meme as "his most famous memorable invention, far more influential than his selfish genes or his later proselytising against religiosity". CANNOTANSWER

Question: Why has Richard Dawkins claimed that the idea of fathering the meme was not entirely novel?
Answer: John Laurent has suggested that the term may have derived from the work of the little-known German biologist Richard Semon.
Richard Dawkins

Context: In his book, The Selfish Gene, Dawkins coined the word meme (the behavioural equivalent of a gene) as a way to encourage readers to think about how Darwinian principles might be extended beyond the realm of genes. It was intended as an extension of his "replicators" argument, but it took on a life of its own in the hands of other authors, such as Daniel Dennett and Susan Blackmore. These popularisations then led to the emergence of memetics, a field from which Dawkins has distanced himself.  Dawkins's meme refers to any cultural entity that an observer might consider a replicator of a certain idea or set of ideas. He hypothesised that people could view many cultural entities as capable of such replication, generally through communication and contact with humans, who have evolved as efficient (although not perfect) copiers of information and behaviour. Because memes are not always copied perfectly, they might become refined, combined, or otherwise modified with other ideas; this results in new memes, which may themselves prove more or less efficient replicators than their predecessors, thus providing a framework for a hypothesis of cultural evolution based on memes, a notion that is analogous to the theory of biological evolution based on genes.  Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel, and there have been other expressions for similar ideas in the past. For instance, John Laurent has suggested that the term may have derived from the work of the little-known German biologist Richard Semon. In 1904, Semon published Die Mneme (which appeared in English in 1924 as The Mneme). This book discusses the cultural transmission of experiences, with insights parallel to those of Dawkins. Laurent also found the term, mneme, used in Maurice Maeterlinck's The Life of the White Ant (1926), and has highlighted the similarities to Dawkins's concept. James Gleick describes Dawkins's concept of the meme as "his most famous memorable invention, far more influential than his selfish genes or his later proselytising against religiosity". CANNOTANSWER

Question: What was Richard Dawkins's career?
Answer: CANNOTANSWER
Richard Dawkins

Context: In his book, The Selfish Gene, Dawkins coined the word meme (the behavioural equivalent of a gene) as a way to encourage readers to think about how Darwinian principles might be extended beyond the realm of genes. It was intended as an extension of his "replicators" argument, but it took on a life of its own in the hands of other authors, such as Daniel Dennett and Susan Blackmore. These popularisations then led to the emergence of memetics, a field from which Dawkins has distanced himself.  Dawkins's meme refers to any cultural entity that an observer might consider a replicator of a certain idea or set of ideas. He hypothesised that people could view many cultural entities as capable of such replication, generally through communication and contact with humans, who have evolved as efficient (although not perfect) copiers of information and behaviour. Because memes are not always copied perfectly, they might become refined, combined, or otherwise modified with other ideas; this results in new memes, which may themselves prove more or less efficient replicators than their predecessors, thus providing a framework for a hypothesis of cultural evolution based on memes, a notion that is analogous to the theory of biological evolution based on genes.  Although Dawkins invented the term meme, he has not claimed that the idea was entirely novel, and there have been other expressions for similar ideas in the past. For instance, John Laurent has suggested that the term may have derived from the work of the little-known German biologist Richard Semon. In 1904, Semon published Die Mneme (which appeared in English in 1924 as The Mneme). This book discusses the cultural transmission of experiences, with insights parallel to those of Dawkins. Laurent also found the term, mneme, used in Maurice Maeterlinck's The Life of the White Ant (1926), and has highlighted the similarities to Dawkins's concept. James Gleick describes Dawkins's concept of the meme as "his most famous memorable invention, far more influential than his selfish genes or his later proselytising against religiosity". CANNOTANSWER

Question: Was Richard Dawkins married?
Answer: CANNOTANSWER
Van Morrison

Context: During the 1990s, Morrison developed a close association with two vocal talents at opposite ends of their careers: Georgie Fame (with whom Morrison had already worked occasionally) lent his voice and Hammond organ skills to Morrison's band; and Brian Kennedy's vocals complemented the grizzled voice of Morrison, both in studio and live performances.  The 1990s also saw an upsurge in collaborations by Morrison with other artists, a trend continuing into the new millennium. He recorded with Irish folk band the Chieftains on their 1995 album, The Long Black Veil. Morrison's song, "Have I Told You Lately" won a Grammy Award for Best Pop Collaboration with Vocals in 1995.  He also produced and was featured on several tracks with blues legend John Lee Hooker on Hooker's 1997 album, Don't Look Back. This album won a Grammy Award for Best Traditional Blues Album in 1998 and the title track "Don't Look Back", a duet featuring Morrison and Hooker, also won a Grammy for Best Pop Collaboration with Vocals in 1998. The project capped a series of Morrison and Hooker collaborations that began in 1971 when they performed a duet on the title track of Hooker's 1972 album Never Get Out of These Blues Alive. On this album, Hooker also recorded a cover of Morrison's "T.B. Sheets".  Morrison additionally collaborated with Tom Jones on his 1999 album Reload, performing a duet on "Sometimes We Cry", and he also sang vocals on a track entitled "The Last Laugh" on Mark Knopfler's 2000 album, Sailing to Philadelphia. In 2004, Morrison was one of the guests on Ray Charles' album, Genius Loves Company, featuring the two artists performing Morrison's "Crazy Love".  In 2000, Morrison recorded a classic country music duet album You Win Again with Linda Gail Lewis. The album received a three star review from AllMusic who called it "a roots effort that never sounds studied". CANNOTANSWER

Question: Who did Van Morrison work with on Collaborations?
Answer: Georgie Fame (with whom Morrison had already worked occasionally) lent his voice and Hammond organ skills
Van Morrison

Context: During the 1990s, Morrison developed a close association with two vocal talents at opposite ends of their careers: Georgie Fame (with whom Morrison had already worked occasionally) lent his voice and Hammond organ skills to Morrison's band; and Brian Kennedy's vocals complemented the grizzled voice of Morrison, both in studio and live performances.  The 1990s also saw an upsurge in collaborations by Morrison with other artists, a trend continuing into the new millennium. He recorded with Irish folk band the Chieftains on their 1995 album, The Long Black Veil. Morrison's song, "Have I Told You Lately" won a Grammy Award for Best Pop Collaboration with Vocals in 1995.  He also produced and was featured on several tracks with blues legend John Lee Hooker on Hooker's 1997 album, Don't Look Back. This album won a Grammy Award for Best Traditional Blues Album in 1998 and the title track "Don't Look Back", a duet featuring Morrison and Hooker, also won a Grammy for Best Pop Collaboration with Vocals in 1998. The project capped a series of Morrison and Hooker collaborations that began in 1971 when they performed a duet on the title track of Hooker's 1972 album Never Get Out of These Blues Alive. On this album, Hooker also recorded a cover of Morrison's "T.B. Sheets".  Morrison additionally collaborated with Tom Jones on his 1999 album Reload, performing a duet on "Sometimes We Cry", and he also sang vocals on a track entitled "The Last Laugh" on Mark Knopfler's 2000 album, Sailing to Philadelphia. In 2004, Morrison was one of the guests on Ray Charles' album, Genius Loves Company, featuring the two artists performing Morrison's "Crazy Love".  In 2000, Morrison recorded a classic country music duet album You Win Again with Linda Gail Lewis. The album received a three star review from AllMusic who called it "a roots effort that never sounds studied". CANNOTANSWER

Question: Besides Georgie Fame Who else did Van Morrison sing with?
Answer: He recorded with Irish folk band the Chieftains on their 1995 album,
Van Morrison

Context: During the 1990s, Morrison developed a close association with two vocal talents at opposite ends of their careers: Georgie Fame (with whom Morrison had already worked occasionally) lent his voice and Hammond organ skills to Morrison's band; and Brian Kennedy's vocals complemented the grizzled voice of Morrison, both in studio and live performances.  The 1990s also saw an upsurge in collaborations by Morrison with other artists, a trend continuing into the new millennium. He recorded with Irish folk band the Chieftains on their 1995 album, The Long Black Veil. Morrison's song, "Have I Told You Lately" won a Grammy Award for Best Pop Collaboration with Vocals in 1995.  He also produced and was featured on several tracks with blues legend John Lee Hooker on Hooker's 1997 album, Don't Look Back. This album won a Grammy Award for Best Traditional Blues Album in 1998 and the title track "Don't Look Back", a duet featuring Morrison and Hooker, also won a Grammy for Best Pop Collaboration with Vocals in 1998. The project capped a series of Morrison and Hooker collaborations that began in 1971 when they performed a duet on the title track of Hooker's 1972 album Never Get Out of These Blues Alive. On this album, Hooker also recorded a cover of Morrison's "T.B. Sheets".  Morrison additionally collaborated with Tom Jones on his 1999 album Reload, performing a duet on "Sometimes We Cry", and he also sang vocals on a track entitled "The Last Laugh" on Mark Knopfler's 2000 album, Sailing to Philadelphia. In 2004, Morrison was one of the guests on Ray Charles' album, Genius Loves Company, featuring the two artists performing Morrison's "Crazy Love".  In 2000, Morrison recorded a classic country music duet album You Win Again with Linda Gail Lewis. The album received a three star review from AllMusic who called it "a roots effort that never sounds studied". CANNOTANSWER

Question: What album did Van Morrison record with the Chieftans?
Answer: The Long Black Veil.
Van Morrison

Context: During the 1990s, Morrison developed a close association with two vocal talents at opposite ends of their careers: Georgie Fame (with whom Morrison had already worked occasionally) lent his voice and Hammond organ skills to Morrison's band; and Brian Kennedy's vocals complemented the grizzled voice of Morrison, both in studio and live performances.  The 1990s also saw an upsurge in collaborations by Morrison with other artists, a trend continuing into the new millennium. He recorded with Irish folk band the Chieftains on their 1995 album, The Long Black Veil. Morrison's song, "Have I Told You Lately" won a Grammy Award for Best Pop Collaboration with Vocals in 1995.  He also produced and was featured on several tracks with blues legend John Lee Hooker on Hooker's 1997 album, Don't Look Back. This album won a Grammy Award for Best Traditional Blues Album in 1998 and the title track "Don't Look Back", a duet featuring Morrison and Hooker, also won a Grammy for Best Pop Collaboration with Vocals in 1998. The project capped a series of Morrison and Hooker collaborations that began in 1971 when they performed a duet on the title track of Hooker's 1972 album Never Get Out of These Blues Alive. On this album, Hooker also recorded a cover of Morrison's "T.B. Sheets".  Morrison additionally collaborated with Tom Jones on his 1999 album Reload, performing a duet on "Sometimes We Cry", and he also sang vocals on a track entitled "The Last Laugh" on Mark Knopfler's 2000 album, Sailing to Philadelphia. In 2004, Morrison was one of the guests on Ray Charles' album, Genius Loves Company, featuring the two artists performing Morrison's "Crazy Love".  In 2000, Morrison recorded a classic country music duet album You Win Again with Linda Gail Lewis. The album received a three star review from AllMusic who called it "a roots effort that never sounds studied". CANNOTANSWER

Question: DId Van Morrison work with the Chieftans any more?
Answer: Morrison additionally collaborated with Tom Jones on his 1999 album
William Styron

Context: Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831.  During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War.  In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner.  Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970. CANNOTANSWER

Question: Who was Nat Turner?
Answer: a slave who led a slave rebellion in 1831.
William Styron

Context: Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831.  During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War.  In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner.  Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970. CANNOTANSWER

Question: What was the controversy caused by William Styron over Nat Turner?
Answer: numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping.
William Styron

Context: Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831.  During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War.  In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner.  Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970. CANNOTANSWER

Question: Was William Styron racist?
Answer: CANNOTANSWER
William Styron

Context: Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831.  During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War.  In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner.  Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970. CANNOTANSWER

Question: What did William Styron write about Nat Turner?
Answer: Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods.
William Styron

Context: Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831.  During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War.  In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner.  Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970. CANNOTANSWER

Question: Did William apologize for his portrayal?
Answer: CANNOTANSWER
William Styron

Context: Styron's next two novels, published between 1967 and 1979, sparked much controversy. Feeling wounded by his first truly harsh reviews, for Set This House on Fire, Styron spent the years after its publication researching and writing his next novel, the fictitious memoirs of the historical Nathaniel "Nat" Turner, a slave who led a slave rebellion in 1831.  During the 1960s, Styron became an eyewitness to another time of rebellion in the United States, living and writing at the heart of that turbulent decade, a time highlighted by the counterculture revolution with its political struggle, civil unrest, and racial tension. The public response to this social upheaval was furious and intense: battle lines were being drawn. In 1968, Styron signed the "Writers and Editors War Tax Protest" pledge, a vow refusing to pay taxes as a protest against the Vietnam War.  In this atmosphere of dissent, many had criticized Styron's friend James Baldwin for his novel Another Country, published in 1962. Among the criticisms was outrage over a black author choosing a white woman as the protagonist in a story that tells of her involvement with a black man. Baldwin was Styron's house guest for several months following the critical storm generated by Another Country. During that time, he read early drafts of Styron's new novel, and predicted that Styron's book would face even harsher scrutiny than Another Country. "Bill's going to catch it from both sides," he told an interviewer immediately following the 1967 publication of The Confessions of Nat Turner.  Baldwin's prediction was correct, and despite public defenses of Styron by leading artists of the time, including Baldwin and Ralph Ellison, numerous other black critics reviled Styron's portrayal of Turner as racist stereotyping. The historian and critic John Henrik Clarke edited and contributed to a polemical anthology, William Styron's Nat Turner: Ten Black Writers Respond, published in 1968 by Beacon Press. Particularly controversial was a passage in which Turner fantasizes about raping a white woman. Styron also writes of a situation where Turner and another slave boy have a homosexual encounter while alone in the woods. Several critics pointed to this as a dangerous perpetuation of a traditional Southern justification for lynching. Despite the controversy, the novel was a runaway critical and financial success, and won both the 1968 Pulitzer Prize for Fiction, and the William Dean Howells Medal in 1970. CANNOTANSWER

Question: Was William a slave owner?
Answer: CANNOTANSWER
Rita Hayworth

Context: After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn, and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.  She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with Jose Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.  She received good reviews for her performance in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. The Money Trap (1964) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972). CANNOTANSWER

Question: When did Rita Hayworth return to Columbia?
Answer: By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star.
Rita Hayworth

Context: After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn, and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.  She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with Jose Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.  She received good reviews for her performance in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. The Money Trap (1964) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972). CANNOTANSWER

Question: Why did Hayworth return to Columbia?
Answer: CANNOTANSWER
Rita Hayworth

Context: After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn, and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.  She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with Jose Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.  She received good reviews for her performance in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. The Money Trap (1964) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972). CANNOTANSWER

Question: Did Rita Hayworth leave Columbia again or stay there?
Answer: Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.
Rita Hayworth

Context: After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn, and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.  She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with Jose Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.  She received good reviews for her performance in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. The Money Trap (1964) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972). CANNOTANSWER

Question: Where did Hayworth go after leaving Columbia?
Answer: CANNOTANSWER
Rita Hayworth

Context: After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn, and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.  She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with Jose Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.  She received good reviews for her performance in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. The Money Trap (1964) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972). CANNOTANSWER

Question: What did Hayworth do when she returned to Columbia?
Answer: By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star.
Rita Hayworth

Context: After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn, and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.  She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with Jose Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957), Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957). After this film, Hayworth left Columbia for good.  She received good reviews for her performance in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. The Money Trap (1964) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972). CANNOTANSWER

Question: Is there anything else interesting in the article other than Rita Hayworth?
Answer: She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s.
Martin Brodeur

Context: During his NHL career, Brodeur set numerous league records. He ended his career with 691 wins, 140 more than Roy, who is second on the NHL's all-time list. Brodeur extended his record shutout total to 125, 22 more than second-place Sawchuk. After his final season, he had played in 1,266 regular season games, a total more than 200 above that of any other goalie. In nine seasons, Brodeur was the NHL wins leader, and in five other seasons he was among the top five goalies in the category. Brodeur's honors include three Vezina Trophy wins as the top goalie in the NHL, and the 1993-94 Calder Trophy as rookie of the year. His total of five Jennings Trophies is tied for the most in NHL history, matching Roy's record. In postseason play, he had the most shutouts of any NHL goalie (24), and his 113 playoff wins ranks second all-time.  Sportswriters and players have called Brodeur one of the greatest goalies in NHL history. USA Today's Kevin Allen placed Brodeur in a group including Roy and Sawchuk as the leading NHL goalie, noting that Brodeur had the advantage in wins. Writer Steve Politi noted Brodeur's longevity as an advantage on other top all-time goalies such as Roy; Brodeur played 70 or more games in 12 seasons, compared to 0 for Roy. Sportsnet's Chris Boyle, after running a statistical analysis, placed Brodeur eighth in his all-time goaltending list; he offered the rationale that Brodeur's teammates helped him achieve his major records, while goalies such as Roy and Hasek had superior stats in their best seasons.  Brodeur is remembered for his playing style: writer Katie Strang called him "one of the most innovative [goalies] ever to play the game", due to his "superior puck-handling skills". Scott Gomez, a former teammate of Brodeur in New Jersey, considered his goalie to be the equivalent of an extra defenceman. The Brodeur Rule, which his play helped inspire the league to institute starting in the 2005-06 season, remains in place. His playing style proved uncommon among goalies of his era, as most of his competitors used a butterfly style exclusively. Brodeur is considered a likely candidate for induction into the Hockey Hall of Fame once he becomes eligible to appear on the ballot. CANNOTANSWER

Question: What was Martin Brodeur's legacy?
Answer: Brodeur set numerous league records.