gaussalgo/Canard_Wiki-augmented huggingface dataset:
Richard III of England

Context: In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument. CANNOTANSWER

Question: Why was Richard III's body dug up?
Answer: Following the discoveries of Richard's remains
Richard III of England

Context: In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument. CANNOTANSWER

Question: How were Richard III's remains discovered?
Answer: CANNOTANSWER
Richard III of England

Context: In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument. CANNOTANSWER

Question: Who decided to rebury the remains of Richard III at Leicester Cathedral?
Answer: CANNOTANSWER
Richard III of England

Context: In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument. CANNOTANSWER

Question: Was there a ceremony when Richard III was reburied?
Answer: at a religious re-burial service
Richard III of England

Context: In 1485, following his death in battle against Henry Tudor at Bosworth Field, Richard III's body was buried in Greyfriars Church in Leicester.  Following the discoveries of Richard's remains in 2012, it was decided that they should be reburied at Leicester Cathedral, despite feelings in some quarters that he should have been reburied in York Minster. His remains were carried in procession to the cathedral on 22 March 2015, and reburied on 26 March 2015 at a religious re-burial service at which both the Right Reverend Tim Stevens, the Bishop of Leicester, and the Most Reverend Justin Welby, the Archbishop of Canterbury, officiated. The British Royal Family was represented by the Duke and Duchess of Gloucester and the Countess of Wessex. The actor Benedict Cumberbatch, who is a distant relation of the king and later portrayed him in The Hollow Crown television series, read a poem by Poet Laureate Carol Ann Duffy.  His cathedral tomb was designed by the architects van Heyningen and Haward. The tombstone is deeply incised with a cross, and consists of a rectangular block of white Swaledale fossil stone, quarried in North Yorkshire. It sits on a low plinth made of dark Kilkenny marble, incised with Richard's name, dates and motto (Loyaulte me lie - loyalty binds me). The plinth also carries his coat of arms in pietra dura. The remains of Richard III are in a lead-lined coffin, inside an outer English oak coffin crafted by Michael Ibsen, a direct descendant of Richard's sister Anne of York, and laid in a brick-lined vault below the floor, and below the plinth and tombstone. The original 2010 raised tomb design had been proposed by Langley`s "Looking For Richard Project" and fully funded by members of the Richard III Society. The proposal was publicly launched by the Society on 13 February 2013 but rejected by Leicester Cathedral in favour of a memorial slab. However, following a public outcry, the Cathedral changed its position and on 18 July 2013 announced its agreement to give King Richard III a raised tomb monument. CANNOTANSWER

Question: What clergyperson officiated Richard III's reburial at Leicester Cathedral?
Answer: Right Reverend Tim Stevens,
The Tragically Hip

Context: In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada.  In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York  2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts.  In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack.  On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER

Question: What happened with the Tragically Hip in 1998?
Answer: In 1998, the band released their seventh full-length album,
The Tragically Hip

Context: In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada.  In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York  2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts.  In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack.  On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER

Question: Was The Tragically Hip's 7th album, released in 1998, popular?
Answer: Bobcaygeon
The Tragically Hip

Context: In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada.  In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York  2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts.  In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack.  On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER

Question: How many more albums did The Tragically Hip release after their 7th album in 1998?
Answer: CANNOTANSWER
The Tragically Hip

Context: In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada.  In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York  2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts.  In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack.  On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER

Question: What happened to The Tragically Hip in 2003?
Answer: In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot.
The Tragically Hip

Context: In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada.  In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York  2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts.  In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack.  On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER

Question: In addition to releasing their 7th album, is there anything else interesting that happened to The Tragically Hip in 1998?
Answer: The album has been certified platinum three times over in Canada.
The Tragically Hip

Context: In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada.  In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York  2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts.  In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack.  On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER

Question: Was The Tragically Hip's 7th album a hit in the US?
Answer: CANNOTANSWER
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: What forms of art did the Iberians use?
Answer: The Iberians produced sculpture in stone and bronze,
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: What kind of tools did Iberians use?
Answer: CANNOTANSWER
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: What religion did the Iberians practice?
Answer: The Iberian polytheistic religion was influenced by the Greek and Phoenician practices,
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: What influenced the Iberians art?
Answer: the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences.
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: How did Iberians influence the Iberian art?
Answer: depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures.
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: What influenced the Iberian's religion?
Answer: The Iberian polytheistic religion was influenced by the Greek and Phoenician practices,
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: Did the Iberians go to a temple to practice religion?
Answer: Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves.
Iberians

Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus. CANNOTANSWER

Question: Did Iberians believe in just one God?
Answer: The Iberian polytheistic religion was influenced by the Greek and Phoenician practices,
James Whale

Context: The success of the various productions of Journey's End brought Whale to the attention of movie producers. Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue. Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures. He was assigned as "dialogue director" for a film called The Love Doctor (1929). He completed work on the film in 15 days and his contract was allowed to expire. It was at around this time that he met David Lewis.  Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie. Whale directed the dialogue sequences. When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End.  Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh. Filming got underway on 6 December 1929 and wrapped on 22 January 1930. Journey's End was released in Great Britain on 14 April and in the United States on 15 April. On both sides of the Atlantic the film was a tremendous critical and commercial success. CANNOTANSWER

Question: Where did James Whale get his start in Hollywood?
Answer: attention of movie producers.
James Whale

Context: The success of the various productions of Journey's End brought Whale to the attention of movie producers. Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue. Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures. He was assigned as "dialogue director" for a film called The Love Doctor (1929). He completed work on the film in 15 days and his contract was allowed to expire. It was at around this time that he met David Lewis.  Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie. Whale directed the dialogue sequences. When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End.  Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh. Filming got underway on 6 December 1929 and wrapped on 22 January 1930. Journey's End was released in Great Britain on 14 April and in the United States on 15 April. On both sides of the Atlantic the film was a tremendous critical and commercial success. CANNOTANSWER

Question: How did James Whale get the movie producers's attention?
Answer: productions of Journey's End brought Whale to the attention of movie producers.
James Whale

Context: The success of the various productions of Journey's End brought Whale to the attention of movie producers. Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue. Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures. He was assigned as "dialogue director" for a film called The Love Doctor (1929). He completed work on the film in 15 days and his contract was allowed to expire. It was at around this time that he met David Lewis.  Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie. Whale directed the dialogue sequences. When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End.  Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh. Filming got underway on 6 December 1929 and wrapped on 22 January 1930. Journey's End was released in Great Britain on 14 April and in the United States on 15 April. On both sides of the Atlantic the film was a tremendous critical and commercial success. CANNOTANSWER

Question: What was James Whale's first movie?
Answer: The Love Doctor
James Whale

Context: The success of the various productions of Journey's End brought Whale to the attention of movie producers. Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue. Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures. He was assigned as "dialogue director" for a film called The Love Doctor (1929). He completed work on the film in 15 days and his contract was allowed to expire. It was at around this time that he met David Lewis.  Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie. Whale directed the dialogue sequences. When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End.  Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh. Filming got underway on 6 December 1929 and wrapped on 22 January 1930. Journey's End was released in Great Britain on 14 April and in the United States on 15 April. On both sides of the Atlantic the film was a tremendous critical and commercial success. CANNOTANSWER

Question: What did James Whale do in the movie The Love Doctor?
Answer: dialogue director