gaussalgo/Canard_Wiki-augmented huggingface dataset:
Mumia Abu-Jamal

Context: After leaving the Panthers, Abu-Jamal returned to his former high school. He was suspended for distributing literature calling for "black revolutionary student power". He led unsuccessful protests to change the school name to Malcolm X High. After attaining his GED, he studied briefly at Goddard College in rural Vermont.  By 1975 Abu-Jamal was pursuing a vocation in radio newscasting, first at Temple University's WRTI and then at commercial enterprises. In 1975, he was employed at radio station WHAT and he became host of a weekly feature program at WCAU-FM in 1978. He was also employed for brief periods at radio station WPEN, and became active in the local chapter of the Marijuana Users Association of America.  From 1979 to 1981 he worked at National Public Radio-affiliate (NPR) WUHY; he was asked to resign as management believed he did not maintain a sufficiently objective approach in his presentation of news. As a radio journalist, Abu-Jamal was renowned for identifying with and covering the MOVE anarcho-primitivist commune in Philadelphia's Powelton Village neighborhood. He reported on the 1979-80 trial of certain of its members (the "MOVE Nine"), who were convicted of the murder of police officer James Ramp. Abu-Jamal had several high-profile interviews, including with Julius Erving, Bob Marley and Alex Haley. He was elected president of the Philadelphia Association of Black Journalists.  In December 1981, Abu-Jamal was working as a taxicab driver in Philadelphia two nights a week to supplement his income. He had been working part-time as a reporter for WDAS, then an African-American-oriented and minority-owned radio station. CANNOTANSWER

Question: Where was Mumia Abu-Jamal suspended?
Answer: his former high school.
Mumia Abu-Jamal

Context: After leaving the Panthers, Abu-Jamal returned to his former high school. He was suspended for distributing literature calling for "black revolutionary student power". He led unsuccessful protests to change the school name to Malcolm X High. After attaining his GED, he studied briefly at Goddard College in rural Vermont.  By 1975 Abu-Jamal was pursuing a vocation in radio newscasting, first at Temple University's WRTI and then at commercial enterprises. In 1975, he was employed at radio station WHAT and he became host of a weekly feature program at WCAU-FM in 1978. He was also employed for brief periods at radio station WPEN, and became active in the local chapter of the Marijuana Users Association of America.  From 1979 to 1981 he worked at National Public Radio-affiliate (NPR) WUHY; he was asked to resign as management believed he did not maintain a sufficiently objective approach in his presentation of news. As a radio journalist, Abu-Jamal was renowned for identifying with and covering the MOVE anarcho-primitivist commune in Philadelphia's Powelton Village neighborhood. He reported on the 1979-80 trial of certain of its members (the "MOVE Nine"), who were convicted of the murder of police officer James Ramp. Abu-Jamal had several high-profile interviews, including with Julius Erving, Bob Marley and Alex Haley. He was elected president of the Philadelphia Association of Black Journalists.  In December 1981, Abu-Jamal was working as a taxicab driver in Philadelphia two nights a week to supplement his income. He had been working part-time as a reporter for WDAS, then an African-American-oriented and minority-owned radio station. CANNOTANSWER

Question: Who suspended Mumia Abu-Jamal?
Answer: his former high school.
Mumia Abu-Jamal

Context: After leaving the Panthers, Abu-Jamal returned to his former high school. He was suspended for distributing literature calling for "black revolutionary student power". He led unsuccessful protests to change the school name to Malcolm X High. After attaining his GED, he studied briefly at Goddard College in rural Vermont.  By 1975 Abu-Jamal was pursuing a vocation in radio newscasting, first at Temple University's WRTI and then at commercial enterprises. In 1975, he was employed at radio station WHAT and he became host of a weekly feature program at WCAU-FM in 1978. He was also employed for brief periods at radio station WPEN, and became active in the local chapter of the Marijuana Users Association of America.  From 1979 to 1981 he worked at National Public Radio-affiliate (NPR) WUHY; he was asked to resign as management believed he did not maintain a sufficiently objective approach in his presentation of news. As a radio journalist, Abu-Jamal was renowned for identifying with and covering the MOVE anarcho-primitivist commune in Philadelphia's Powelton Village neighborhood. He reported on the 1979-80 trial of certain of its members (the "MOVE Nine"), who were convicted of the murder of police officer James Ramp. Abu-Jamal had several high-profile interviews, including with Julius Erving, Bob Marley and Alex Haley. He was elected president of the Philadelphia Association of Black Journalists.  In December 1981, Abu-Jamal was working as a taxicab driver in Philadelphia two nights a week to supplement his income. He had been working part-time as a reporter for WDAS, then an African-American-oriented and minority-owned radio station. CANNOTANSWER

Question: Which part of Mumia Abu-Jamal journalism career was worth mentioning?
Answer: From 1979 to 1981 he worked at National Public Radio-affiliate (NPR) WUHY; he was asked to resign as management believed he did not maintain a sufficiently objective approach
Mumia Abu-Jamal

Context: After leaving the Panthers, Abu-Jamal returned to his former high school. He was suspended for distributing literature calling for "black revolutionary student power". He led unsuccessful protests to change the school name to Malcolm X High. After attaining his GED, he studied briefly at Goddard College in rural Vermont.  By 1975 Abu-Jamal was pursuing a vocation in radio newscasting, first at Temple University's WRTI and then at commercial enterprises. In 1975, he was employed at radio station WHAT and he became host of a weekly feature program at WCAU-FM in 1978. He was also employed for brief periods at radio station WPEN, and became active in the local chapter of the Marijuana Users Association of America.  From 1979 to 1981 he worked at National Public Radio-affiliate (NPR) WUHY; he was asked to resign as management believed he did not maintain a sufficiently objective approach in his presentation of news. As a radio journalist, Abu-Jamal was renowned for identifying with and covering the MOVE anarcho-primitivist commune in Philadelphia's Powelton Village neighborhood. He reported on the 1979-80 trial of certain of its members (the "MOVE Nine"), who were convicted of the murder of police officer James Ramp. Abu-Jamal had several high-profile interviews, including with Julius Erving, Bob Marley and Alex Haley. He was elected president of the Philadelphia Association of Black Journalists.  In December 1981, Abu-Jamal was working as a taxicab driver in Philadelphia two nights a week to supplement his income. He had been working part-time as a reporter for WDAS, then an African-American-oriented and minority-owned radio station. CANNOTANSWER

Question: Which institution did Mumia Abu-Jamal attend?
Answer: he studied briefly at Goddard College in rural Vermont.
Mumia Abu-Jamal

Context: After leaving the Panthers, Abu-Jamal returned to his former high school. He was suspended for distributing literature calling for "black revolutionary student power". He led unsuccessful protests to change the school name to Malcolm X High. After attaining his GED, he studied briefly at Goddard College in rural Vermont.  By 1975 Abu-Jamal was pursuing a vocation in radio newscasting, first at Temple University's WRTI and then at commercial enterprises. In 1975, he was employed at radio station WHAT and he became host of a weekly feature program at WCAU-FM in 1978. He was also employed for brief periods at radio station WPEN, and became active in the local chapter of the Marijuana Users Association of America.  From 1979 to 1981 he worked at National Public Radio-affiliate (NPR) WUHY; he was asked to resign as management believed he did not maintain a sufficiently objective approach in his presentation of news. As a radio journalist, Abu-Jamal was renowned for identifying with and covering the MOVE anarcho-primitivist commune in Philadelphia's Powelton Village neighborhood. He reported on the 1979-80 trial of certain of its members (the "MOVE Nine"), who were convicted of the murder of police officer James Ramp. Abu-Jamal had several high-profile interviews, including with Julius Erving, Bob Marley and Alex Haley. He was elected president of the Philadelphia Association of Black Journalists.  In December 1981, Abu-Jamal was working as a taxicab driver in Philadelphia two nights a week to supplement his income. He had been working part-time as a reporter for WDAS, then an African-American-oriented and minority-owned radio station. CANNOTANSWER

Question: What was Mumia Abu-Jamal activity in the school?
Answer: He led unsuccessful protests to change the school name to Malcolm X High.
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: what happened to Supergrass during the Britpop years?
Answer: Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records.
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: Was Caught by the Fuzz the only album Supergrass released during the Britpop years?
Answer: "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: What started Supergrass's stardom?
Answer: the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one.
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: is there anything that stood out to you that you liked about Supergrass?
Answer: Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: Were Supergrass popular with the fans?
Answer: The album was a huge success and went platinum in the UK,
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: What else is interesting about Supergrass other than their album going platinum that I should know?
Answer: Supergrass also appeared on the front cover of The Big Issue,
Supergrass

Context: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week.  "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two.  Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively.  Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks. CANNOTANSWER

Question: Did Supergrass appear on anything else besides The Big Issue?
Answer: A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out".
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: Where did Tom Ford start his career
Answer: When interviewing for jobs after graduation,
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: Where did Tom Ford get a job after graduation
Answer: Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company.
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: Did Tom Ford get a job in Cathy Hardwick's sportswear company?
Answer: Ford worked as a design assistant for Hardwick for two years.
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: What did Tom Ford do after working as assistant for Hardwick?
Answer: In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially.
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: What did Tom Ford do at Perry Ellis
Answer: He worked at the company for two years, but grew tired of working in American fashion.
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: Did Tom Ford move to Europe?
Answer: For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky.
Tom Ford

Context: When interviewing for jobs after graduation, Ford said that he had attended The New School's Parsons division, but concealed that he graduated in architecture, and that his work at Chloe was a low-level public relations position. Despite his lack of experience in fashion, Ford called American designer Cathy Hardwick every day for a month in hopes of securing a job at her sportswear company. Hardwick eventually agreed to interview him. She later recalled the incident: "I had every intention of giving him no hope. I asked him who his favorite European designers were. He said, 'Armani and Chanel.' Months later I asked him why he said that, and he said, 'Because you were wearing something Armani'. Is it any wonder he got the job?" Ford worked as a design assistant for Hardwick for two years.  In 1988, Ford moved to Perry Ellis, where he knew both Robert McDonald, the company's president, and Marc Jacobs, its designer, socially. He worked at the company for two years, but grew tired of working in American fashion. In a later interview with The New York Times, he commented, "If I was ever going to become a good designer, I had to leave America. My own culture was inhibiting me. Too much style in America is tacky. It's looked down upon to be too stylish. Europeans, however, appreciate style."  At the time, Italian fashion house Gucci was struggling financially and was seeking to strengthen its women's ready-to-wear presence as a part of a brand overhaul. The company's creative director, Dawn Mello said, "no one would dream of wearing Gucci". In 1990, Mello hired Ford as the brand's chief women's ready-to-wear designer and Ford moved to Milan. "I was talking to a lot of people, and most didn't want the job," Mello said. "For an American designer to move to Italy to join a company that was far from being a brand would have been pretty risky." Ford and his longtime partner, fashion journalist Richard Buckley, relocated to Milan that September.  Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that. When Richard Lambertson left as design director in 1992, Ford took over his position, heading the brand's ready-to-wear, fragrances, image, advertising, and store design. In 1993, when he was in charge of designing eleven product lines, Ford worked eighteen-hour days. During these years, there were creative tensions between Ford and Maurizio Gucci, the company's chairman and 50% owner. According to Mello, "Maurizio always wanted everything to be round and brown, and Tom wanted to make it square and black." Though Maurizio Gucci wanted to fire Ford, Domenico De Sole insisted that he remain. Nonetheless, Ford's work during the early 1990s was primarily behind the scenes; his contributions to Gucci were overshadowed by those of Mello, who was the company's public face. CANNOTANSWER

Question: How did things go in Europe
Answer: Ford's role at Gucci rapidly expanded; he was designing menswear within six months, and shoes soon after that.