gaussalgo/Canard_Wiki-augmented huggingface dataset:
Steve Young

Context: Young played behind Montana his first several years, but shone as a backup. Substituting for an injured Montana, early in the first quarter of a 1987 game against the Chicago Bears, he threw four touchdown passes in a 41-0 victory. In their 1987 divisional playoff game against the Minnesota Vikings, he replaced Montana in the second half after the team fell behind 27-10. The 49ers still lost the game, but Young had a fairly good performance with 12/17 completions for 158 yards and a touchdown, with one interception, while also leading San Francisco in rushing with 72 yards and a touchdown on six carries. On October 30, 1988, Young ran for a 49-yard, game-winning touchdown against the Minnesota Vikings. He started the game out with a 73-yard touchdown pass to John Taylor, after Montana went down with an injury. The play earned the 49ers a 24-21 victory and a bit of revenge on the Vikings for their previous season's playoff loss.  In 1989, he displayed his potential to become the team's starter in the future. While Montana won the NFL MVP award and led the team to victory in Super Bowl XXIV, Young still had a good season, completing 69% of his passes for 1,001 yards and eight touchdowns, with only three interceptions. On October 22, 1989, he posted a perfect passer rating of 158.3 when he completed 11 of 12 passes for 188 yards and three touchdown passes in a 37-20 victory over the New England Patriots. In his four seasons as a backup, Young had thrown 23 touchdown passes and only six interceptions.  He rushed for a career-high 102 yards on just eight carries vs. the New Orleans Saints on December 23, 1990, making him only the second 49ers quarterback to rush for at least 100 yards in a single game. The 49ers lost the game 13-10. CANNOTANSWER

Question: Did the 49ers play well during the 1987 to 1990 period?
Answer: The play earned the 49ers a 24-21 victory and a bit of revenge on the Vikings for their previous season's playoff loss.
Steve Young

Context: Young played behind Montana his first several years, but shone as a backup. Substituting for an injured Montana, early in the first quarter of a 1987 game against the Chicago Bears, he threw four touchdown passes in a 41-0 victory. In their 1987 divisional playoff game against the Minnesota Vikings, he replaced Montana in the second half after the team fell behind 27-10. The 49ers still lost the game, but Young had a fairly good performance with 12/17 completions for 158 yards and a touchdown, with one interception, while also leading San Francisco in rushing with 72 yards and a touchdown on six carries. On October 30, 1988, Young ran for a 49-yard, game-winning touchdown against the Minnesota Vikings. He started the game out with a 73-yard touchdown pass to John Taylor, after Montana went down with an injury. The play earned the 49ers a 24-21 victory and a bit of revenge on the Vikings for their previous season's playoff loss.  In 1989, he displayed his potential to become the team's starter in the future. While Montana won the NFL MVP award and led the team to victory in Super Bowl XXIV, Young still had a good season, completing 69% of his passes for 1,001 yards and eight touchdowns, with only three interceptions. On October 22, 1989, he posted a perfect passer rating of 158.3 when he completed 11 of 12 passes for 188 yards and three touchdown passes in a 37-20 victory over the New England Patriots. In his four seasons as a backup, Young had thrown 23 touchdown passes and only six interceptions.  He rushed for a career-high 102 yards on just eight carries vs. the New Orleans Saints on December 23, 1990, making him only the second 49ers quarterback to rush for at least 100 yards in a single game. The 49ers lost the game 13-10. CANNOTANSWER

Question: Did Minnesota Vikings ever get to the Super Bowl while Steve Young was there?
Answer: While Montana won the NFL MVP award and led the team to victory in Super Bowl XXIV, Young still had a good season,
Foo Fighters

Context: After touring through the spring of 1996, Foo Fighters entered Bear Creek Studio in Woodinville, Washington, with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he was not happy with how the mixes were turning out, and changed William Goldsmith's "drum tracks with his own for all but two songs." During the L.A. sessions, Grohl had played drums on the songs. Unhappy with Goldsmith's drumming, Grohl removed it from the recordings and re-recorded the drum tracks. As Goldsmith was about to come down to L.A. to find out why he wasn't being called upon to re-record his parts, he called Mendel from Seattle inquiring if he should make the trip. Grohl then called Goldsmith saying, "Dude, don't come down here, I'm recording some of the drum tracks". Shocked by this, Goldsmith met up with Mendel in Seattle and repeated Grohl's claim to be re-recording "some" of the tracks. Mendel asked, "Is that what he told you?"; Goldsmith affirmed it, and Mendel stated, "No, man, he did them all".  Grohl explained that he'd wanted the drums to sound a certain way on the album. He wanted Goldsmith to play for the tour even though it would not be his drumming but Grohl's on the album. Feeling betrayed, Goldsmith left the band.  In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette's touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"  Pat Smear announced to the rest of the group that he wanted to leave the band claiming exhaustion and burnout but agreed to stay with the band until a replacement could be found for him. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously announced to the public his departure from the band and introduced his replacement, Grohl's former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single, "Dear Lover", appeared in the horror film Scream 2. The tour for The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival and culminated with a performance at the 1998 Reading Festival, both in England. CANNOTANSWER

Question: What is "The colour and the shape"
Answer: second album.
Foo Fighters

Context: After touring through the spring of 1996, Foo Fighters entered Bear Creek Studio in Woodinville, Washington, with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he was not happy with how the mixes were turning out, and changed William Goldsmith's "drum tracks with his own for all but two songs." During the L.A. sessions, Grohl had played drums on the songs. Unhappy with Goldsmith's drumming, Grohl removed it from the recordings and re-recorded the drum tracks. As Goldsmith was about to come down to L.A. to find out why he wasn't being called upon to re-record his parts, he called Mendel from Seattle inquiring if he should make the trip. Grohl then called Goldsmith saying, "Dude, don't come down here, I'm recording some of the drum tracks". Shocked by this, Goldsmith met up with Mendel in Seattle and repeated Grohl's claim to be re-recording "some" of the tracks. Mendel asked, "Is that what he told you?"; Goldsmith affirmed it, and Mendel stated, "No, man, he did them all".  Grohl explained that he'd wanted the drums to sound a certain way on the album. He wanted Goldsmith to play for the tour even though it would not be his drumming but Grohl's on the album. Feeling betrayed, Goldsmith left the band.  In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette's touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"  Pat Smear announced to the rest of the group that he wanted to leave the band claiming exhaustion and burnout but agreed to stay with the band until a replacement could be found for him. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously announced to the public his departure from the band and introduced his replacement, Grohl's former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single, "Dear Lover", appeared in the horror film Scream 2. The tour for The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival and culminated with a performance at the 1998 Reading Festival, both in England. CANNOTANSWER

Question: What singles did the album  "The colour and the shape" have?
Answer: The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"
Foo Fighters

Context: After touring through the spring of 1996, Foo Fighters entered Bear Creek Studio in Woodinville, Washington, with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he was not happy with how the mixes were turning out, and changed William Goldsmith's "drum tracks with his own for all but two songs." During the L.A. sessions, Grohl had played drums on the songs. Unhappy with Goldsmith's drumming, Grohl removed it from the recordings and re-recorded the drum tracks. As Goldsmith was about to come down to L.A. to find out why he wasn't being called upon to re-record his parts, he called Mendel from Seattle inquiring if he should make the trip. Grohl then called Goldsmith saying, "Dude, don't come down here, I'm recording some of the drum tracks". Shocked by this, Goldsmith met up with Mendel in Seattle and repeated Grohl's claim to be re-recording "some" of the tracks. Mendel asked, "Is that what he told you?"; Goldsmith affirmed it, and Mendel stated, "No, man, he did them all".  Grohl explained that he'd wanted the drums to sound a certain way on the album. He wanted Goldsmith to play for the tour even though it would not be his drumming but Grohl's on the album. Feeling betrayed, Goldsmith left the band.  In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette's touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"  Pat Smear announced to the rest of the group that he wanted to leave the band claiming exhaustion and burnout but agreed to stay with the band until a replacement could be found for him. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously announced to the public his departure from the band and introduced his replacement, Grohl's former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single, "Dear Lover", appeared in the horror film Scream 2. The tour for The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival and culminated with a performance at the 1998 Reading Festival, both in England. CANNOTANSWER

Question: Did The Colour and the Shape album go on tour?
Answer: The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival
Foo Fighters

Context: After touring through the spring of 1996, Foo Fighters entered Bear Creek Studio in Woodinville, Washington, with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he was not happy with how the mixes were turning out, and changed William Goldsmith's "drum tracks with his own for all but two songs." During the L.A. sessions, Grohl had played drums on the songs. Unhappy with Goldsmith's drumming, Grohl removed it from the recordings and re-recorded the drum tracks. As Goldsmith was about to come down to L.A. to find out why he wasn't being called upon to re-record his parts, he called Mendel from Seattle inquiring if he should make the trip. Grohl then called Goldsmith saying, "Dude, don't come down here, I'm recording some of the drum tracks". Shocked by this, Goldsmith met up with Mendel in Seattle and repeated Grohl's claim to be re-recording "some" of the tracks. Mendel asked, "Is that what he told you?"; Goldsmith affirmed it, and Mendel stated, "No, man, he did them all".  Grohl explained that he'd wanted the drums to sound a certain way on the album. He wanted Goldsmith to play for the tour even though it would not be his drumming but Grohl's on the album. Feeling betrayed, Goldsmith left the band.  In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette's touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"  Pat Smear announced to the rest of the group that he wanted to leave the band claiming exhaustion and burnout but agreed to stay with the band until a replacement could be found for him. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously announced to the public his departure from the band and introduced his replacement, Grohl's former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single, "Dear Lover", appeared in the horror film Scream 2. The tour for The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival and culminated with a performance at the 1998 Reading Festival, both in England. CANNOTANSWER

Question: What are some interesting aspects about this article besides the album"The Colour and the Shape"?
Answer: Dear Lover", appeared in the horror film Scream 2.
Foo Fighters

Context: After touring through the spring of 1996, Foo Fighters entered Bear Creek Studio in Woodinville, Washington, with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he was not happy with how the mixes were turning out, and changed William Goldsmith's "drum tracks with his own for all but two songs." During the L.A. sessions, Grohl had played drums on the songs. Unhappy with Goldsmith's drumming, Grohl removed it from the recordings and re-recorded the drum tracks. As Goldsmith was about to come down to L.A. to find out why he wasn't being called upon to re-record his parts, he called Mendel from Seattle inquiring if he should make the trip. Grohl then called Goldsmith saying, "Dude, don't come down here, I'm recording some of the drum tracks". Shocked by this, Goldsmith met up with Mendel in Seattle and repeated Grohl's claim to be re-recording "some" of the tracks. Mendel asked, "Is that what he told you?"; Goldsmith affirmed it, and Mendel stated, "No, man, he did them all".  Grohl explained that he'd wanted the drums to sound a certain way on the album. He wanted Goldsmith to play for the tour even though it would not be his drumming but Grohl's on the album. Feeling betrayed, Goldsmith left the band.  In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette's touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"  Pat Smear announced to the rest of the group that he wanted to leave the band claiming exhaustion and burnout but agreed to stay with the band until a replacement could be found for him. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously announced to the public his departure from the band and introduced his replacement, Grohl's former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single, "Dear Lover", appeared in the horror film Scream 2. The tour for The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival and culminated with a performance at the 1998 Reading Festival, both in England. CANNOTANSWER

Question: What other songs were featured on films besides "Dear Lover"?
Answer: "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single,
Foo Fighters

Context: After touring through the spring of 1996, Foo Fighters entered Bear Creek Studio in Woodinville, Washington, with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he was not happy with how the mixes were turning out, and changed William Goldsmith's "drum tracks with his own for all but two songs." During the L.A. sessions, Grohl had played drums on the songs. Unhappy with Goldsmith's drumming, Grohl removed it from the recordings and re-recorded the drum tracks. As Goldsmith was about to come down to L.A. to find out why he wasn't being called upon to re-record his parts, he called Mendel from Seattle inquiring if he should make the trip. Grohl then called Goldsmith saying, "Dude, don't come down here, I'm recording some of the drum tracks". Shocked by this, Goldsmith met up with Mendel in Seattle and repeated Grohl's claim to be re-recording "some" of the tracks. Mendel asked, "Is that what he told you?"; Goldsmith affirmed it, and Mendel stated, "No, man, he did them all".  Grohl explained that he'd wanted the drums to sound a certain way on the album. He wanted Goldsmith to play for the tour even though it would not be his drumming but Grohl's on the album. Feeling betrayed, Goldsmith left the band.  In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette's touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album included the singles "Monkey Wrench", "Everlong", "My Hero", and "Walking After You"  Pat Smear announced to the rest of the group that he wanted to leave the band claiming exhaustion and burnout but agreed to stay with the band until a replacement could be found for him. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously announced to the public his departure from the band and introduced his replacement, Grohl's former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of "Walking After You" for The X-Files and "A320" for Godzilla. A B-side from the "My Hero" single, "Dear Lover", appeared in the horror film Scream 2. The tour for The Colour and the Shape album included a main stage performance at the 1998 Glastonbury Festival and culminated with a performance at the 1998 Reading Festival, both in England. CANNOTANSWER

Question: Any others songs were featured on films besides "Dear Lover", "Walking After You" for The X-Files and "A320"?
Answer: CANNOTANSWER
Bobby Robson

Context: During his first spell at Fulham, Robson participated in two ambassadorial Football Association tours in the West Indies in 1955 and South Africa in 1956. However, it was during his time at West Bromwich Albion that he graduated to the full England squad, with his first call-up in 1956. His manager, Vic Buckingham, advocated the "push and run" approach to the game, a precursor to "total football", and playing this, Robson graduated to the full England squad in 1956, It was also at West Brom when Robson met future England international and assistant coach Don Howe.  Robson went on to make 20 appearances for the England national team, making his debut in a November 1957 victory against France, scoring twice in a 4-0 victory. Although he made a successful debut, he was dropped for England's next match, against Scotland, in favour of Bobby Charlton. However, Robson was selected for the 1958 FIFA World Cup squad, ahead of Nat Lofthouse and Stanley Matthews, but returned from host nation Sweden disappointed after England were defeated by the Soviet Union in a group play-off match.  Following the World Cup, Robson became an established member of the England squad, enjoying considerable success in a period between October 1960 and March 1961 when he played in six England victories, including scoring a goal in the record 9-3 defeat of Scotland at Wembley Stadium. He was selected for the 1962 World Cup finals in Chile, but an injury to his ankle sustained in a pre-tournament friendly against a Chilean club side ruled him out of most of the tournament. As Robson recalled, "I never played for England again... my international career was unfulfilled." His place in the England team was taken by Bobby Moore. CANNOTANSWER

Question: Where did Robson play internationally?
Answer: Robson participated in two ambassadorial Football Association tours in the West Indies in 1955 and South Africa in 1956.
Bobby Robson

Context: During his first spell at Fulham, Robson participated in two ambassadorial Football Association tours in the West Indies in 1955 and South Africa in 1956. However, it was during his time at West Bromwich Albion that he graduated to the full England squad, with his first call-up in 1956. His manager, Vic Buckingham, advocated the "push and run" approach to the game, a precursor to "total football", and playing this, Robson graduated to the full England squad in 1956, It was also at West Brom when Robson met future England international and assistant coach Don Howe.  Robson went on to make 20 appearances for the England national team, making his debut in a November 1957 victory against France, scoring twice in a 4-0 victory. Although he made a successful debut, he was dropped for England's next match, against Scotland, in favour of Bobby Charlton. However, Robson was selected for the 1958 FIFA World Cup squad, ahead of Nat Lofthouse and Stanley Matthews, but returned from host nation Sweden disappointed after England were defeated by the Soviet Union in a group play-off match.  Following the World Cup, Robson became an established member of the England squad, enjoying considerable success in a period between October 1960 and March 1961 when he played in six England victories, including scoring a goal in the record 9-3 defeat of Scotland at Wembley Stadium. He was selected for the 1962 World Cup finals in Chile, but an injury to his ankle sustained in a pre-tournament friendly against a Chilean club side ruled him out of most of the tournament. As Robson recalled, "I never played for England again... my international career was unfulfilled." His place in the England team was taken by Bobby Moore. CANNOTANSWER

Question: Other than playing in South Africa in 1956, where else did Robson play after 1956?
Answer: his debut in a November 1957 victory against France,
Bobby Robson

Context: During his first spell at Fulham, Robson participated in two ambassadorial Football Association tours in the West Indies in 1955 and South Africa in 1956. However, it was during his time at West Bromwich Albion that he graduated to the full England squad, with his first call-up in 1956. His manager, Vic Buckingham, advocated the "push and run" approach to the game, a precursor to "total football", and playing this, Robson graduated to the full England squad in 1956, It was also at West Brom when Robson met future England international and assistant coach Don Howe.  Robson went on to make 20 appearances for the England national team, making his debut in a November 1957 victory against France, scoring twice in a 4-0 victory. Although he made a successful debut, he was dropped for England's next match, against Scotland, in favour of Bobby Charlton. However, Robson was selected for the 1958 FIFA World Cup squad, ahead of Nat Lofthouse and Stanley Matthews, but returned from host nation Sweden disappointed after England were defeated by the Soviet Union in a group play-off match.  Following the World Cup, Robson became an established member of the England squad, enjoying considerable success in a period between October 1960 and March 1961 when he played in six England victories, including scoring a goal in the record 9-3 defeat of Scotland at Wembley Stadium. He was selected for the 1962 World Cup finals in Chile, but an injury to his ankle sustained in a pre-tournament friendly against a Chilean club side ruled him out of most of the tournament. As Robson recalled, "I never played for England again... my international career was unfulfilled." His place in the England team was taken by Bobby Moore. CANNOTANSWER

Question: Who was Robson playing for in 1957?
Answer: the England national team,
Bobby Robson

Context: During his first spell at Fulham, Robson participated in two ambassadorial Football Association tours in the West Indies in 1955 and South Africa in 1956. However, it was during his time at West Bromwich Albion that he graduated to the full England squad, with his first call-up in 1956. His manager, Vic Buckingham, advocated the "push and run" approach to the game, a precursor to "total football", and playing this, Robson graduated to the full England squad in 1956, It was also at West Brom when Robson met future England international and assistant coach Don Howe.  Robson went on to make 20 appearances for the England national team, making his debut in a November 1957 victory against France, scoring twice in a 4-0 victory. Although he made a successful debut, he was dropped for England's next match, against Scotland, in favour of Bobby Charlton. However, Robson was selected for the 1958 FIFA World Cup squad, ahead of Nat Lofthouse and Stanley Matthews, but returned from host nation Sweden disappointed after England were defeated by the Soviet Union in a group play-off match.  Following the World Cup, Robson became an established member of the England squad, enjoying considerable success in a period between October 1960 and March 1961 when he played in six England victories, including scoring a goal in the record 9-3 defeat of Scotland at Wembley Stadium. He was selected for the 1962 World Cup finals in Chile, but an injury to his ankle sustained in a pre-tournament friendly against a Chilean club side ruled him out of most of the tournament. As Robson recalled, "I never played for England again... my international career was unfulfilled." His place in the England team was taken by Bobby Moore. CANNOTANSWER

Question: Which team did Robson play for longest?
Answer: England
Bobby Robson

Context: During his first spell at Fulham, Robson participated in two ambassadorial Football Association tours in the West Indies in 1955 and South Africa in 1956. However, it was during his time at West Bromwich Albion that he graduated to the full England squad, with his first call-up in 1956. His manager, Vic Buckingham, advocated the "push and run" approach to the game, a precursor to "total football", and playing this, Robson graduated to the full England squad in 1956, It was also at West Brom when Robson met future England international and assistant coach Don Howe.  Robson went on to make 20 appearances for the England national team, making his debut in a November 1957 victory against France, scoring twice in a 4-0 victory. Although he made a successful debut, he was dropped for England's next match, against Scotland, in favour of Bobby Charlton. However, Robson was selected for the 1958 FIFA World Cup squad, ahead of Nat Lofthouse and Stanley Matthews, but returned from host nation Sweden disappointed after England were defeated by the Soviet Union in a group play-off match.  Following the World Cup, Robson became an established member of the England squad, enjoying considerable success in a period between October 1960 and March 1961 when he played in six England victories, including scoring a goal in the record 9-3 defeat of Scotland at Wembley Stadium. He was selected for the 1962 World Cup finals in Chile, but an injury to his ankle sustained in a pre-tournament friendly against a Chilean club side ruled him out of most of the tournament. As Robson recalled, "I never played for England again... my international career was unfulfilled." His place in the England team was taken by Bobby Moore. CANNOTANSWER

Question: What did Robson do after playing for England?
Answer: CANNOTANSWER
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Was Odissi an acceptable form of dancing during the Medieval era?
Answer: The Buddhist icons, for example, are depicted as dancing gods and goddesses,
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Was Odissi a popular form of dancing during the Medieval era?
Answer: Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Was there a popular Odissi dancer in the Medieval era?
Answer: CANNOTANSWER
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Is there anything significant about Odissi dancing in the Medieval era?
Answer: Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era,
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Was Odissi dancing a good source of income for the Medieval era performers?
Answer: CANNOTANSWER
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Was there anyone in the Medieval era who did not like the Odissi form of dancing?
Answer: were revered as auspicious to religious services.