gaussalgo/Canard_Wiki-augmented huggingface dataset:
Billie Holiday

Context: In 1935 Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new swing style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame." Brunswick did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right. She began recording under her own name a year later (on the 35-cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians. The sessions were co-produced by Hammond and Bernie Hanighen.  With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (number 6 Pop) and "Yankee Doodle Went to Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her twenties.  Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said, "I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices, if you don't be careful, you know, or the same mind, or something like that." Young nicknamed her "Lady Day", and she called him "Prez".  Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick. The record label, according to Hammond, was broke and unable to record many jazz tunes. Wilson, Holiday, Young, and other musicians came into the studio without musical arrangements and improvised as they performed, dispensing with the expense of having written arrangements, so that the records they produced were cheap. Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money. Some of the records produced were successful, such as "I Cried for You", which sold 15,000 copies. Hammond said of the record, "15,000 ... was a giant hit for Brunswick in those days. I mean a giant hit. Most records that made money sold around three to four thousand." CANNOTANSWER

Question: Why wasn't Billie Holiday given any royalties for her work?
Answer: saved the company money.
Billie Holiday

Context: In 1935 Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new swing style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame." Brunswick did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right. She began recording under her own name a year later (on the 35-cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians. The sessions were co-produced by Hammond and Bernie Hanighen.  With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (number 6 Pop) and "Yankee Doodle Went to Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her twenties.  Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said, "I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices, if you don't be careful, you know, or the same mind, or something like that." Young nicknamed her "Lady Day", and she called him "Prez".  Hammond spoke about the commercial impact of the Wilson-Holiday sides from 1935 to 1938, calling them a great asset to Brunswick. The record label, according to Hammond, was broke and unable to record many jazz tunes. Wilson, Holiday, Young, and other musicians came into the studio without musical arrangements and improvised as they performed, dispensing with the expense of having written arrangements, so that the records they produced were cheap. Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the company money. Some of the records produced were successful, such as "I Cried for You", which sold 15,000 copies. Hammond said of the record, "15,000 ... was a giant hit for Brunswick in those days. I mean a giant hit. Most records that made money sold around three to four thousand." CANNOTANSWER

Question: Was Billie Holiday upset about not receiving royalties for her work?
Answer: CANNOTANSWER
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: What personnel were there on the Total Life Forever album?
Answer: produced by Luke Smith,
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: Did any new musicians join Foals for the album Total Life Forever?
Answer: Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity.
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: Did Foals go on tour to support Total Life Forever?
Answer: Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together.
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: Did the album Total Life Forever win any awards?
Answer: The album was nominated for the 2010 Mercury Prize.
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: Were any songs from Total Life Forever used on a soundtrack?
Answer: "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts.
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: Besides the use of Spanish Sahara in various trailers, are there any other interesting aspects about this article?
Answer: the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album.
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: How popular was the TLF site?
Answer: CANNOTANSWER
Foals (band)

Context: In August 2009, Foals started recording their second album at Svenska Grammofon Studion in Gothenburg, Sweden. The album, Total Life Forever, has been described by the band members as sounding like "tropical prog" and "like the dream of an eagle dying". The band have described the album as being "a lot less funk" than they had originally planned. The album was produced by Luke Smith, formerly of Clor. The album's title is named after an element of Ray Kurzweil's theory of singularity. The band's frontman, Yannis Philippakis, has professed a longtime interest in futurology, with it informing numerous songs on Total Life Forever.  On 1 March 2010, the promotional single "Spanish Sahara" was first played on Zane Lowe's show Radio 1. The Foals' website was updated that night with the video for the track, directed by longtime collaborator Dave Ma, and on 6 March, the Total Life Forever site was launched. There puzzles revealed images, lyrics and sound clips of songs from the album. The last clip appeared on 12 March, with a password entry for Foals' new website. The site was opened on 13 March and presented the art concept and media including samples of songs, photos and videos. Lead single "This Orient" was released on 3 May 2010. The album was finally released on 10 May 2010.  "Spanish Sahara" was featured in trailers for season seven of Entourage, season four of Skins and Outcasts. It was also used in the soundtrack of the second season of the E4 drama Misfits. It was released as a full physical single in September 2010, featuring an edited remix starring the strings of London Contemporary Orchestra. In 2015, it was used by French studio Dontnod Entertainment in the game Life Is Strange as the music for one of its final endings.  The album was nominated for the 2010 Mercury Prize. In an interview with online magazine Coup de Main, Jimmy Smith said how the band members live together on and off the road - heading to Australia to record demos for their next album together. "It's just like touring with your family, it's nice". CANNOTANSWER

Question: Besides the trailers for Entourage, Skins, and Outcasts, were there other soundtracks from the Total Life Forever album?
Answer: Lead single "This Orient" was released on 3 May 2010.
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: What began Rick Barry's broadcasting career?
Answer: He began broadcasting during the 1967-68 season
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: Where did Rick Barry broadcast during the 1967-68 season?
Answer: broadcasting Oakland Oaks games
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: Was Rick Barry well liked at Oakland Oaks games?
Answer: CANNOTANSWER
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: Aside from Rick Barry's career, are there any other interesting aspects about this article?
Answer: While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell,
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: What did Rick Barry say that caused a controvery as a CBS analyst during Game 5 of 1981 NBA Finals?
Answer: Barry joked that "it looks like some fool over there with that big watermelon grin".
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: How did Rick Barry's controversial comment during Game 5 of the 1981 NBA Finals turn out?
Answer: Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: What did Bill Russel believe about Barry in regards to Rick Barry's controversial comment during Game 5 of the 1981 Finals on CBS??
Answer: Russell said that he believed Barry with regard to Barry's racial attitudes,
Rick Barry

Context: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.  While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.  CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person.  In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).  In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public. CANNOTANSWER

Question: Aside from Russell's response, did anything else happen in reference to Rick Barry's comment?
Answer: CANNOTANSWER
Opeth

Context: Opeth recorded its debut album, Orchid, with producer Dan Swano in April 1994. Because of distribution problems with the newly formed Candlelight Records, the album was not released until May 15, 1995, and only in Europe. Orchid tested the boundaries of traditional death metal, featuring acoustic guitars, piano, and clean vocals.  After a few live shows in the United Kingdom, Opeth returned to the studio in March 1996 to begin work on a second album, again produced by Dan Swano. The album was named Morningrise, and was released in Europe on June 24, 1996. With only five songs, but lasting 66 minutes, it features Opeth's longest song, the twenty-minute "Black Rose Immortal". Opeth toured the UK in support of Morningrise, followed by a 26-date Scandinavian tour with Cradle of Filth. While on tour, Opeth attracted the attention of Century Media Records, who signed the band and released the first two albums in the United States in 1997.  In 1997, after the tour, Akerfeldt and Lindgren dismissed De Farfalla for personal reasons, without the consent of Nordin. When Akerfeldt informed Nordin, who was on a vacation in Brazil, Nordin left the band and remained in Brazil for personal reasons. Former Eternal members, drummer Martin Lopez (formerly of Amon Amarth) and bassist Martin Mendez, responded to an ad at a music shop placed by Akerfeldt. Lopez and Mendez were fans of the band and took the ads down themselves so no other musicians could apply for the job. Akerfeldt and Lindgren did not want the Martins to join at first, due to them already knowing each other; they felt that they wanted two strangers so that there wouldn't be two camps in the band, but eventually hired both. Lopez made his debut with Opeth playing on a cover version of Iron Maiden's "Remember Tomorrow", which was included on the album A Call to Irons: A Tribute to Iron Maiden.  With a larger recording budget from Century Media, Opeth began work on its third album, with noted Swedish producer Fredrik Nordstrom, at Studio Fredman in August 1997. Although Opeth had Mendez, due to time constraints Akerfeldt played bass on the album. My Arms, Your Hearse was released to critical acclaim on August 18, 1998. CANNOTANSWER

Question: Which album was released in 1994 by Opeth?
Answer: Orchid,
Opeth

Context: Opeth recorded its debut album, Orchid, with producer Dan Swano in April 1994. Because of distribution problems with the newly formed Candlelight Records, the album was not released until May 15, 1995, and only in Europe. Orchid tested the boundaries of traditional death metal, featuring acoustic guitars, piano, and clean vocals.  After a few live shows in the United Kingdom, Opeth returned to the studio in March 1996 to begin work on a second album, again produced by Dan Swano. The album was named Morningrise, and was released in Europe on June 24, 1996. With only five songs, but lasting 66 minutes, it features Opeth's longest song, the twenty-minute "Black Rose Immortal". Opeth toured the UK in support of Morningrise, followed by a 26-date Scandinavian tour with Cradle of Filth. While on tour, Opeth attracted the attention of Century Media Records, who signed the band and released the first two albums in the United States in 1997.  In 1997, after the tour, Akerfeldt and Lindgren dismissed De Farfalla for personal reasons, without the consent of Nordin. When Akerfeldt informed Nordin, who was on a vacation in Brazil, Nordin left the band and remained in Brazil for personal reasons. Former Eternal members, drummer Martin Lopez (formerly of Amon Amarth) and bassist Martin Mendez, responded to an ad at a music shop placed by Akerfeldt. Lopez and Mendez were fans of the band and took the ads down themselves so no other musicians could apply for the job. Akerfeldt and Lindgren did not want the Martins to join at first, due to them already knowing each other; they felt that they wanted two strangers so that there wouldn't be two camps in the band, but eventually hired both. Lopez made his debut with Opeth playing on a cover version of Iron Maiden's "Remember Tomorrow", which was included on the album A Call to Irons: A Tribute to Iron Maiden.  With a larger recording budget from Century Media, Opeth began work on its third album, with noted Swedish producer Fredrik Nordstrom, at Studio Fredman in August 1997. Although Opeth had Mendez, due to time constraints Akerfeldt played bass on the album. My Arms, Your Hearse was released to critical acclaim on August 18, 1998. CANNOTANSWER

Question: Were there any singles released from Opeth's album Orchid?
Answer: CANNOTANSWER