gaussalgo/Canard_Wiki-augmented huggingface dataset:
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: What was Raymond Burr's role in the film industry?
Answer: Burr appeared in more than 50 feature films
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: What are the examples of Raymond Burr's more than 50 feature films?
Answer: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950),
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: What were the subject matters of Desperate, Sleep, My Love, Raw Deal, Pitfall, Abandoned, and Red Light?
Answer: array of villains that established him as an icon of film noir.
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: Were Desperate, Sleep, My Love, Raw Deal, Pitfall, Abandoned, and Red Light followed by other activities besides Burr being an established icon ?
Answer: Burr's occasional roles on the right side of the law
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: What roles did Burr play in the right side of  law?
Answer: the aggressive prosecutor in A Place in the Sun
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: How was Raymond Burr received by the fans of A Place in the Sun and the press?
Answer: cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: Did Raymond Burr receive any accolades for A Place in the Sun?
Answer: CANNOTANSWER
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: Did Raymond Burr's film career continue?
Answer: Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (
Raymond Burr

Context: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason. CANNOTANSWER

Question: Was FBI Girl followed by other projects besides The Whip Hand?
Answer: ), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957).
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: What was the Gubernatorial election of 1899?
Answer: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: Who were the three men who nomination for the 1899 election?
Answer: - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him.
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: What was the end result of the 1899 Gubernatorial election?
Answer: Republican William S. Taylor defeated both Democratic candidates in the general election,
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: What did Goebel do after his loss in the 1899 gubernatorial election?
Answer: the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats,
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: Who were the Goebel Democrats?
Answer: CANNOTANSWER
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: Anything else you found interesting, other than the gubernatorial election of 1899?
Answer: The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war.
William Goebel

Context: Three men sought the Democratic nomination for governor at the 1899 party convention in Louisville - Goebel, Wat Hardin, and William J. Stone. When Hardin appeared to be the front-runner for the nomination, Stone and Goebel agreed to work together against him. Stone's supporters would back whomever Goebel picked to preside over the convention. In exchange, half the delegates from Louisville, who were pledged to Goebel, would vote to nominate Stone for governor. Goebel would then drop out of the race, but would name many of the other officials on the ticket. As word of the plan spread, Hardin dropped out of the race, believing he would be beaten by the Stone-Goebel alliance.  Goebel took a calculated risk by breaking the agreement once his choice was installed as presiding officer. Hardin, seeing that Stone had been betrayed and hoping he might now be able to secure the nomination, re-entered the contest. Several chaotic ballots resulted in no clear majority for anyone, and Goebel's hand-picked chairman announced the man with the lowest vote total in the next canvass would be dropped. It turned out to be Stone. This put Stone's backers in a difficult position. They were forced to choose between Hardin, who was seen as a pawn of the railroads, or Goebel, who had turned against their man. Enough of them sided with Goebel to give him the nomination. Goebel's tactics, while not illegal, were unpopular and divided the party. A disgruntled faction calling themselves the "Honest Election Democrats" held a separate convention in Lexington and nominated John Y. Brown for governor.  Republican William S. Taylor defeated both Democratic candidates in the general election, but his margin over Goebel was only 2,383 votes. Democrats in the General Assembly began making accusations of voting irregularities in some counties, but in a surprise decision, the Board of Elections created by the Goebel Election Law and manned by three hand-picked Goebel Democrats, ruled 2-1 that the disputed ballots should count, saying the law gave them no legal power to reverse the official county results and that under the Kentucky Constitution the power to review the election lay in the General Assembly. The Assembly then invalidated enough Republican ballots to give the election to Goebel. The Assembly's Republican minority was incensed, as were voters in traditionally Republican districts. For several days, the state hovered on the brink of a possible civil war. CANNOTANSWER

Question: Was there a civil war after the election?
Answer: CANNOTANSWER
Mississippian culture

Context: The Mississippi stage is usually divided into three or more chronological periods. Each period is an arbitrary historical distinction varying regionally. At a particular site, each period may be considered to begin earlier or later, depending on the speed of adoption or development of given Mississippian traits. The "Mississippi period" should not be confused with the "Mississippian culture". The Mississippi period is the chronological stage, while Mississippian culture refers to the cultural similarities that characterize this society.  The Early Mississippi period (c. 1000-1200 CE) had just transitioned from the Late Woodland period way of life (500-1000). Different groups abandoned tribal lifeways for increasing complexity, sedentism, centralization, and agriculture. Production of surplus corn and attractions of the regional chiefdoms led to rapid population concentrations in major centers.  The Middle Mississippi period (c. 1200-1400) is the apex of the Mississippi era. The expansion of the great metropolis and ceremonial complex at Cahokia (in present-day Illinois), the formation of other complex chiefdoms, and the spread and development of SECC art and symbolism are characteristic changes of this period. The Mississippian traits listed above came to be widespread throughout the region.  The Late Mississippi period (c. 1400-1540) is characterized by increasing warfare, political turmoil, and population movement. The population of Cahokia dispersed early in this period (1350-1400), perhaps migrating to other rising political centers. More defensive structures are often seen at sites, and sometimes a decline in mound-building and large scale, public ceremonialism. Although some areas continued an essentially Middle Mississippian culture until the first significant contact with Europeans, the population of most areas had dispersed or were experiencing severe social stress by 1500. Along with the contemporaneous Ancestral Pueblo peoples, these cultural collapses coincide with the global climate change of the Little Ice Age. Scholars theorize drought and the reduction of maize agriculture, together with possible deforestation and overhunting by the concentrated populations, forced them to move away from major sites. This period ended with European contact in the 16th century. CANNOTANSWER

Question: what is chronology?
Answer: divided into three or more chronological periods.
Mississippian culture

Context: The Mississippi stage is usually divided into three or more chronological periods. Each period is an arbitrary historical distinction varying regionally. At a particular site, each period may be considered to begin earlier or later, depending on the speed of adoption or development of given Mississippian traits. The "Mississippi period" should not be confused with the "Mississippian culture". The Mississippi period is the chronological stage, while Mississippian culture refers to the cultural similarities that characterize this society.  The Early Mississippi period (c. 1000-1200 CE) had just transitioned from the Late Woodland period way of life (500-1000). Different groups abandoned tribal lifeways for increasing complexity, sedentism, centralization, and agriculture. Production of surplus corn and attractions of the regional chiefdoms led to rapid population concentrations in major centers.  The Middle Mississippi period (c. 1200-1400) is the apex of the Mississippi era. The expansion of the great metropolis and ceremonial complex at Cahokia (in present-day Illinois), the formation of other complex chiefdoms, and the spread and development of SECC art and symbolism are characteristic changes of this period. The Mississippian traits listed above came to be widespread throughout the region.  The Late Mississippi period (c. 1400-1540) is characterized by increasing warfare, political turmoil, and population movement. The population of Cahokia dispersed early in this period (1350-1400), perhaps migrating to other rising political centers. More defensive structures are often seen at sites, and sometimes a decline in mound-building and large scale, public ceremonialism. Although some areas continued an essentially Middle Mississippian culture until the first significant contact with Europeans, the population of most areas had dispersed or were experiencing severe social stress by 1500. Along with the contemporaneous Ancestral Pueblo peoples, these cultural collapses coincide with the global climate change of the Little Ice Age. Scholars theorize drought and the reduction of maize agriculture, together with possible deforestation and overhunting by the concentrated populations, forced them to move away from major sites. This period ended with European contact in the 16th century. CANNOTANSWER

Question: Are there any other interesting aspects about this article on Mississippian culture on chronology, other than it's divided into three or more chronological periods?
Answer: The "Mississippi period" should not be confused with the "Mississippian culture".