gaussalgo/Canard_Wiki-augmented huggingface dataset:
David Frost

Context: Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, alias TW3 after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962-63, was part of the satire boom in early 1960s Britain and became a popular programme.  The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the United States during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed.  For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was.  An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. CANNOTANSWER

Question: Is David Frost incapable to swim?
Answer: CANNOTANSWER
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: What happened  to Martha and the Vandellas during motown major hit years (1962-1968)?
Answer: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team,
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: What happened to Martha and the Vandellas after striking gold with the second album release?
Answer: It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart.
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: Can you tell me how long did Martha and the Vandellas second album stay on the charts?
Answer: CANNOTANSWER
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: What were some of Martha and the Vandellas major hits?
Answer: Their second hit, "Heat Wave", became a phenomenal record for the group,
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: Were Martha and the Vandellas popular among a lot of people?
Answer: It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: What other things took place after Martha and the Vandellas received a Grammy Award nomination?
Answer: The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: Did Martha and the Vandellas go on to continue to be successful after the second Top Ten single "Quicksand" was released?
Answer: and reached number eight pop in the late fall of 1963.
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: Any other important aspects regarding Martha and the Vandellas' major hit years other than the awards and nominations?
Answer: Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964.
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: Did Martha and the Vandellas grow apart after Annette left to get married and have a child?
Answer: Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.
Martha and the Vandellas

Context: Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts. CANNOTANSWER

Question: Did Betty Kelly do well with joining Martha and the Vandellas?
Answer: The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40.
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: where did the group Nomeansno come together
Answer: rehearsing in their parents' basement in 1979,
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: did school cause Nomeansno breakup?
Answer: CANNOTANSWER
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: did any members of Nomeansno leave on good terms?
Answer: CANNOTANSWER
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: Besides Nomeansno's original sound, did Nomeansno ever try other forms of music
Answer: The brothers began performing live as a bass-and-drums duo in 1981.
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: Did Nomeansno ever have dreams of touring?
Answer: They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria.
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: Was Nomeansno always into music?
Answer: younger brother John, eight years his junior, played drums in the school jazz band.
Nomeansno

Context: In 1979 and at age 25, Rob Wright returned to his family's home in Victoria after studying in Calgary. His younger brother John, eight years his junior, played drums in the school jazz band. They were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria. The two began rehearsing in their parents' basement in 1979, and took the name Nomeansno from an anti-date rape slogan. They also briefly gigged as the rhythm section for the local cover band Castle.  Nomeansno recorded its earliest material in the months that followed on a TASCAM four-track recorder, with Rob playing electric guitar and bass, John playing keyboards and drums, and both brothers singing. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies / SS Social Service" single (a 1980 split with another short-lived Wright brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.  The brothers began performing live as a bass-and-drums duo in 1981. Their sound developed without a guitar, and John Wright later reflected on these developments:  ...without a guitar player you can't rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player - the guitar god quote unquote - was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.  Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motorhead after art school, or Wire on psychotic steroids." This same year, John Wright also joined the Victoria punk band The Infamous Scientists. CANNOTANSWER

Question: Did Nomeansno have a back up plan if music fell through?
Answer: CANNOTANSWER