gaussalgo/Canard_Wiki-augmented huggingface dataset:
Starsailor (band)

Context: Despite being known as a Wigan band, only one member of Starsailor is actually from the town. The band met whilst studying Music at the Parsons Walk Campus of Wigan and Leigh College. Bassist James Stelfox and drummer Ben Byrne had been playing together in Warrington, Cheshire for a number of years. When their regular singer fell ill, they recruited young Chorley singer and songwriter James Walsh from a school choir. He was influenced by Jeff Buckley and his 1994 album Grace in his singing style. Comparing it to Oasis' (What's the Story) Morning Glory? album, which Walsh says sums up a unique moment, Grace captures every moment.  The band, then named Waterface, had tried a number of guitarists before they asked long-time friend Barry Westhead to join the band in 2000 on keyboards. He had been teaching judo and playing organ for a church near his home town. His arrival has been heralded as the most significant event in the band's formation. Walsh also took up the guitar, following frustration over not finding a musician right for the group. The band started to build up a reputation, and their name changed to Starsailor after the 1970 album Starsailor by Tim Buckley.  A journalist from NME saw a gig in 2000 and gave the band a glowing review. "One live encounter was enough to convince many sceptics that here was a band who were genuinely special, blessed with a singer whose voice thrummed like an emotional telegraph wire, that swerved the pitfalls of indie melancholia and were clearly in love with rock 'n' roll and all its possibilities." Their performance at the Glastonbury Festival added to the band's reputation and led to a bidding war amongst UK record companies.  The band signed with EMI, the label that a relative of one band member worked for, in 2000. In 2008, in a re-organisation, Starsailor were moved to Virgin Records, a division of EMI. CANNOTANSWER

Question: Who was the lead singer of Starsailor?
Answer: James Walsh
Starsailor (band)

Context: Despite being known as a Wigan band, only one member of Starsailor is actually from the town. The band met whilst studying Music at the Parsons Walk Campus of Wigan and Leigh College. Bassist James Stelfox and drummer Ben Byrne had been playing together in Warrington, Cheshire for a number of years. When their regular singer fell ill, they recruited young Chorley singer and songwriter James Walsh from a school choir. He was influenced by Jeff Buckley and his 1994 album Grace in his singing style. Comparing it to Oasis' (What's the Story) Morning Glory? album, which Walsh says sums up a unique moment, Grace captures every moment.  The band, then named Waterface, had tried a number of guitarists before they asked long-time friend Barry Westhead to join the band in 2000 on keyboards. He had been teaching judo and playing organ for a church near his home town. His arrival has been heralded as the most significant event in the band's formation. Walsh also took up the guitar, following frustration over not finding a musician right for the group. The band started to build up a reputation, and their name changed to Starsailor after the 1970 album Starsailor by Tim Buckley.  A journalist from NME saw a gig in 2000 and gave the band a glowing review. "One live encounter was enough to convince many sceptics that here was a band who were genuinely special, blessed with a singer whose voice thrummed like an emotional telegraph wire, that swerved the pitfalls of indie melancholia and were clearly in love with rock 'n' roll and all its possibilities." Their performance at the Glastonbury Festival added to the band's reputation and led to a bidding war amongst UK record companies.  The band signed with EMI, the label that a relative of one band member worked for, in 2000. In 2008, in a re-organisation, Starsailor were moved to Virgin Records, a division of EMI. CANNOTANSWER

Question: Who was the drummer of Starsailor?
Answer: Ben Byrne
Starsailor (band)

Context: Despite being known as a Wigan band, only one member of Starsailor is actually from the town. The band met whilst studying Music at the Parsons Walk Campus of Wigan and Leigh College. Bassist James Stelfox and drummer Ben Byrne had been playing together in Warrington, Cheshire for a number of years. When their regular singer fell ill, they recruited young Chorley singer and songwriter James Walsh from a school choir. He was influenced by Jeff Buckley and his 1994 album Grace in his singing style. Comparing it to Oasis' (What's the Story) Morning Glory? album, which Walsh says sums up a unique moment, Grace captures every moment.  The band, then named Waterface, had tried a number of guitarists before they asked long-time friend Barry Westhead to join the band in 2000 on keyboards. He had been teaching judo and playing organ for a church near his home town. His arrival has been heralded as the most significant event in the band's formation. Walsh also took up the guitar, following frustration over not finding a musician right for the group. The band started to build up a reputation, and their name changed to Starsailor after the 1970 album Starsailor by Tim Buckley.  A journalist from NME saw a gig in 2000 and gave the band a glowing review. "One live encounter was enough to convince many sceptics that here was a band who were genuinely special, blessed with a singer whose voice thrummed like an emotional telegraph wire, that swerved the pitfalls of indie melancholia and were clearly in love with rock 'n' roll and all its possibilities." Their performance at the Glastonbury Festival added to the band's reputation and led to a bidding war amongst UK record companies.  The band signed with EMI, the label that a relative of one band member worked for, in 2000. In 2008, in a re-organisation, Starsailor were moved to Virgin Records, a division of EMI. CANNOTANSWER

Question: Who was the guitar of Starsailor?
Answer: James Stelfox
Starsailor (band)

Context: Despite being known as a Wigan band, only one member of Starsailor is actually from the town. The band met whilst studying Music at the Parsons Walk Campus of Wigan and Leigh College. Bassist James Stelfox and drummer Ben Byrne had been playing together in Warrington, Cheshire for a number of years. When their regular singer fell ill, they recruited young Chorley singer and songwriter James Walsh from a school choir. He was influenced by Jeff Buckley and his 1994 album Grace in his singing style. Comparing it to Oasis' (What's the Story) Morning Glory? album, which Walsh says sums up a unique moment, Grace captures every moment.  The band, then named Waterface, had tried a number of guitarists before they asked long-time friend Barry Westhead to join the band in 2000 on keyboards. He had been teaching judo and playing organ for a church near his home town. His arrival has been heralded as the most significant event in the band's formation. Walsh also took up the guitar, following frustration over not finding a musician right for the group. The band started to build up a reputation, and their name changed to Starsailor after the 1970 album Starsailor by Tim Buckley.  A journalist from NME saw a gig in 2000 and gave the band a glowing review. "One live encounter was enough to convince many sceptics that here was a band who were genuinely special, blessed with a singer whose voice thrummed like an emotional telegraph wire, that swerved the pitfalls of indie melancholia and were clearly in love with rock 'n' roll and all its possibilities." Their performance at the Glastonbury Festival added to the band's reputation and led to a bidding war amongst UK record companies.  The band signed with EMI, the label that a relative of one band member worked for, in 2000. In 2008, in a re-organisation, Starsailor were moved to Virgin Records, a division of EMI. CANNOTANSWER

Question: Who were the other Starsailor members besides James Walsh, Ben Byrne and James Stelfox??
Answer: Barry Westhead
Starsailor (band)

Context: Despite being known as a Wigan band, only one member of Starsailor is actually from the town. The band met whilst studying Music at the Parsons Walk Campus of Wigan and Leigh College. Bassist James Stelfox and drummer Ben Byrne had been playing together in Warrington, Cheshire for a number of years. When their regular singer fell ill, they recruited young Chorley singer and songwriter James Walsh from a school choir. He was influenced by Jeff Buckley and his 1994 album Grace in his singing style. Comparing it to Oasis' (What's the Story) Morning Glory? album, which Walsh says sums up a unique moment, Grace captures every moment.  The band, then named Waterface, had tried a number of guitarists before they asked long-time friend Barry Westhead to join the band in 2000 on keyboards. He had been teaching judo and playing organ for a church near his home town. His arrival has been heralded as the most significant event in the band's formation. Walsh also took up the guitar, following frustration over not finding a musician right for the group. The band started to build up a reputation, and their name changed to Starsailor after the 1970 album Starsailor by Tim Buckley.  A journalist from NME saw a gig in 2000 and gave the band a glowing review. "One live encounter was enough to convince many sceptics that here was a band who were genuinely special, blessed with a singer whose voice thrummed like an emotional telegraph wire, that swerved the pitfalls of indie melancholia and were clearly in love with rock 'n' roll and all its possibilities." Their performance at the Glastonbury Festival added to the band's reputation and led to a bidding war amongst UK record companies.  The band signed with EMI, the label that a relative of one band member worked for, in 2000. In 2008, in a re-organisation, Starsailor were moved to Virgin Records, a division of EMI. CANNOTANSWER

Question: How long did Starsailor stay together?
Answer: CANNOTANSWER
Edward Sapir

Context: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures and languages of Canada. His first fieldwork took him to Vancouver Island to work on the Nootka language. Apart from Sapir the division had two other staff members, Marius Barbeau and Harlan I. Smith. Sapir insisted that the discipline of linguistics was of integral importance for ethnographic description, arguing that just as nobody would dream of discussing the history of the Catholic Church without knowing Latin or study German folksongs without knowing German, so it made little sense to approach the study of Indigenous folklore without knowledge of the indigenous languages. At this point the only Canadian first nation languages that were well known were Kwakiutl, described by Boas, Tshimshian and Haida. Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance. By introducing the high standards of Boasian anthropology, Sapir incited antagonism from those amateur ethnologists who felt that they had contributed important work. Unsatisfied with efforts by amateur and governmental anthropologists, Sapir worked to introduce an academic program of anthropology at one of the major universities, in order to professionalize the discipline.  Sapir enlisted the assistance of fellow Boasians: Frank Speck, Paul Radin and Alexander Goldenweiser, who with Barbeau worked on the people's of the Eastern Woodlands: the Ojibwa, the Iroquois, the Huron and the Wyandot. Sapir initiated work on the Athabascan languages of the Mackenzie valley and the Yukon, but it proved too difficult to find adequate assistance, and he concentrated mainly on Nootka and the languages of the North West Coast.  During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction of better medical care for Indigenous communities, and assisting the Six Nation Iroquois in trying to recover eleven wampum belts that had been stolen from the reservation and were on display in the museum of the University of Pennsylvania. (The belts were finally returned to the Iroquois in 1988.) He also argued for the reversal of a Canadian law prohibiting the Potlatch ceremony of the West Coast tribes. CANNOTANSWER

Question: What is Canada's Geological Survey?
Answer: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures
Edward Sapir

Context: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures and languages of Canada. His first fieldwork took him to Vancouver Island to work on the Nootka language. Apart from Sapir the division had two other staff members, Marius Barbeau and Harlan I. Smith. Sapir insisted that the discipline of linguistics was of integral importance for ethnographic description, arguing that just as nobody would dream of discussing the history of the Catholic Church without knowing Latin or study German folksongs without knowing German, so it made little sense to approach the study of Indigenous folklore without knowledge of the indigenous languages. At this point the only Canadian first nation languages that were well known were Kwakiutl, described by Boas, Tshimshian and Haida. Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance. By introducing the high standards of Boasian anthropology, Sapir incited antagonism from those amateur ethnologists who felt that they had contributed important work. Unsatisfied with efforts by amateur and governmental anthropologists, Sapir worked to introduce an academic program of anthropology at one of the major universities, in order to professionalize the discipline.  Sapir enlisted the assistance of fellow Boasians: Frank Speck, Paul Radin and Alexander Goldenweiser, who with Barbeau worked on the people's of the Eastern Woodlands: the Ojibwa, the Iroquois, the Huron and the Wyandot. Sapir initiated work on the Athabascan languages of the Mackenzie valley and the Yukon, but it proved too difficult to find adequate assistance, and he concentrated mainly on Nootka and the languages of the North West Coast.  During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction of better medical care for Indigenous communities, and assisting the Six Nation Iroquois in trying to recover eleven wampum belts that had been stolen from the reservation and were on display in the museum of the University of Pennsylvania. (The belts were finally returned to the Iroquois in 1988.) He also argued for the reversal of a Canadian law prohibiting the Potlatch ceremony of the West Coast tribes. CANNOTANSWER

Question: Around what year did Edward Sapir start his project to document Indigenous cultures?
Answer: CANNOTANSWER
Edward Sapir

Context: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures and languages of Canada. His first fieldwork took him to Vancouver Island to work on the Nootka language. Apart from Sapir the division had two other staff members, Marius Barbeau and Harlan I. Smith. Sapir insisted that the discipline of linguistics was of integral importance for ethnographic description, arguing that just as nobody would dream of discussing the history of the Catholic Church without knowing Latin or study German folksongs without knowing German, so it made little sense to approach the study of Indigenous folklore without knowledge of the indigenous languages. At this point the only Canadian first nation languages that were well known were Kwakiutl, described by Boas, Tshimshian and Haida. Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance. By introducing the high standards of Boasian anthropology, Sapir incited antagonism from those amateur ethnologists who felt that they had contributed important work. Unsatisfied with efforts by amateur and governmental anthropologists, Sapir worked to introduce an academic program of anthropology at one of the major universities, in order to professionalize the discipline.  Sapir enlisted the assistance of fellow Boasians: Frank Speck, Paul Radin and Alexander Goldenweiser, who with Barbeau worked on the people's of the Eastern Woodlands: the Ojibwa, the Iroquois, the Huron and the Wyandot. Sapir initiated work on the Athabascan languages of the Mackenzie valley and the Yukon, but it proved too difficult to find adequate assistance, and he concentrated mainly on Nootka and the languages of the North West Coast.  During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction of better medical care for Indigenous communities, and assisting the Six Nation Iroquois in trying to recover eleven wampum belts that had been stolen from the reservation and were on display in the museum of the University of Pennsylvania. (The belts were finally returned to the Iroquois in 1988.) He also argued for the reversal of a Canadian law prohibiting the Potlatch ceremony of the West Coast tribes. CANNOTANSWER

Question: How did Edward Sapir's research about Indigenous cultures turn out?
Answer: His first fieldwork took him to Vancouver Island to work on the Nootka language.
Edward Sapir

Context: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures and languages of Canada. His first fieldwork took him to Vancouver Island to work on the Nootka language. Apart from Sapir the division had two other staff members, Marius Barbeau and Harlan I. Smith. Sapir insisted that the discipline of linguistics was of integral importance for ethnographic description, arguing that just as nobody would dream of discussing the history of the Catholic Church without knowing Latin or study German folksongs without knowing German, so it made little sense to approach the study of Indigenous folklore without knowledge of the indigenous languages. At this point the only Canadian first nation languages that were well known were Kwakiutl, described by Boas, Tshimshian and Haida. Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance. By introducing the high standards of Boasian anthropology, Sapir incited antagonism from those amateur ethnologists who felt that they had contributed important work. Unsatisfied with efforts by amateur and governmental anthropologists, Sapir worked to introduce an academic program of anthropology at one of the major universities, in order to professionalize the discipline.  Sapir enlisted the assistance of fellow Boasians: Frank Speck, Paul Radin and Alexander Goldenweiser, who with Barbeau worked on the people's of the Eastern Woodlands: the Ojibwa, the Iroquois, the Huron and the Wyandot. Sapir initiated work on the Athabascan languages of the Mackenzie valley and the Yukon, but it proved too difficult to find adequate assistance, and he concentrated mainly on Nootka and the languages of the North West Coast.  During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction of better medical care for Indigenous communities, and assisting the Six Nation Iroquois in trying to recover eleven wampum belts that had been stolen from the reservation and were on display in the museum of the University of Pennsylvania. (The belts were finally returned to the Iroquois in 1988.) He also argued for the reversal of a Canadian law prohibiting the Potlatch ceremony of the West Coast tribes. CANNOTANSWER

Question: Did Edward Sapir successfully document the Nootka language of Vancouver Island?
Answer: Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance.
Edward Sapir

Context: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures and languages of Canada. His first fieldwork took him to Vancouver Island to work on the Nootka language. Apart from Sapir the division had two other staff members, Marius Barbeau and Harlan I. Smith. Sapir insisted that the discipline of linguistics was of integral importance for ethnographic description, arguing that just as nobody would dream of discussing the history of the Catholic Church without knowing Latin or study German folksongs without knowing German, so it made little sense to approach the study of Indigenous folklore without knowledge of the indigenous languages. At this point the only Canadian first nation languages that were well known were Kwakiutl, described by Boas, Tshimshian and Haida. Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance. By introducing the high standards of Boasian anthropology, Sapir incited antagonism from those amateur ethnologists who felt that they had contributed important work. Unsatisfied with efforts by amateur and governmental anthropologists, Sapir worked to introduce an academic program of anthropology at one of the major universities, in order to professionalize the discipline.  Sapir enlisted the assistance of fellow Boasians: Frank Speck, Paul Radin and Alexander Goldenweiser, who with Barbeau worked on the people's of the Eastern Woodlands: the Ojibwa, the Iroquois, the Huron and the Wyandot. Sapir initiated work on the Athabascan languages of the Mackenzie valley and the Yukon, but it proved too difficult to find adequate assistance, and he concentrated mainly on Nootka and the languages of the North West Coast.  During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction of better medical care for Indigenous communities, and assisting the Six Nation Iroquois in trying to recover eleven wampum belts that had been stolen from the reservation and were on display in the museum of the University of Pennsylvania. (The belts were finally returned to the Iroquois in 1988.) He also argued for the reversal of a Canadian law prohibiting the Potlatch ceremony of the West Coast tribes. CANNOTANSWER

Question: Why did Edward Sapir say that amassing knowledge of indigenous languages was important?
Answer: CANNOTANSWER
Edward Sapir

Context: As director of the Anthropological division of the Geological Survey of Canada, Sapir embarked on a project to document the Indigenous cultures and languages of Canada. His first fieldwork took him to Vancouver Island to work on the Nootka language. Apart from Sapir the division had two other staff members, Marius Barbeau and Harlan I. Smith. Sapir insisted that the discipline of linguistics was of integral importance for ethnographic description, arguing that just as nobody would dream of discussing the history of the Catholic Church without knowing Latin or study German folksongs without knowing German, so it made little sense to approach the study of Indigenous folklore without knowledge of the indigenous languages. At this point the only Canadian first nation languages that were well known were Kwakiutl, described by Boas, Tshimshian and Haida. Sapir explicitly used the standard of documentation of European languages, to argue that the amassing knowledge of indigenous languages was of paramount importance. By introducing the high standards of Boasian anthropology, Sapir incited antagonism from those amateur ethnologists who felt that they had contributed important work. Unsatisfied with efforts by amateur and governmental anthropologists, Sapir worked to introduce an academic program of anthropology at one of the major universities, in order to professionalize the discipline.  Sapir enlisted the assistance of fellow Boasians: Frank Speck, Paul Radin and Alexander Goldenweiser, who with Barbeau worked on the people's of the Eastern Woodlands: the Ojibwa, the Iroquois, the Huron and the Wyandot. Sapir initiated work on the Athabascan languages of the Mackenzie valley and the Yukon, but it proved too difficult to find adequate assistance, and he concentrated mainly on Nootka and the languages of the North West Coast.  During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction of better medical care for Indigenous communities, and assisting the Six Nation Iroquois in trying to recover eleven wampum belts that had been stolen from the reservation and were on display in the museum of the University of Pennsylvania. (The belts were finally returned to the Iroquois in 1988.) He also argued for the reversal of a Canadian law prohibiting the Potlatch ceremony of the West Coast tribes. CANNOTANSWER

Question: Besides the Nootka language, what else did Edward Sapir accomplish for the Geological Survey?
Answer: During his time in Canada, together with Speck, Sapir also acted as an advocate for Indigenous rights, arguing publicly for introduction
Joe Simon

Context: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published Boys' Ranch and launched an early horror comic, the atmospheric and non-gory series Black Magic. The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, Young Romance, starting a successful trend.  At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western Bullseye: Western Scout; the war comic Foxhole, since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier romance comic Young Love was still being widely imitated; and the crime comic Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created Fighting American. Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.  The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue The Double Life of Private Strong (June-Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of The Adventures of the Fly (Aug.-Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art. CANNOTANSWER

Question: What is Crestwood?
Answer: Crestwood Publications,
Joe Simon

Context: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published Boys' Ranch and launched an early horror comic, the atmospheric and non-gory series Black Magic. The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, Young Romance, starting a successful trend.  At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western Bullseye: Western Scout; the war comic Foxhole, since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier romance comic Young Love was still being widely imitated; and the crime comic Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created Fighting American. Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.  The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue The Double Life of Private Strong (June-Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of The Adventures of the Fly (Aug.-Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art. CANNOTANSWER

Question: What is Black Magic?
Answer: the atmospheric and non-gory series Black Magic.
Joe Simon

Context: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published Boys' Ranch and launched an early horror comic, the atmospheric and non-gory series Black Magic. The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, Young Romance, starting a successful trend.  At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western Bullseye: Western Scout; the war comic Foxhole, since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier romance comic Young Love was still being widely imitated; and the crime comic Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created Fighting American. Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.  The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue The Double Life of Private Strong (June-Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of The Adventures of the Fly (Aug.-Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art. CANNOTANSWER

Question: Who are some of the characters in the Black Magic comic series
Answer: CANNOTANSWER
Joe Simon

Context: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published Boys' Ranch and launched an early horror comic, the atmospheric and non-gory series Black Magic. The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, Young Romance, starting a successful trend.  At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western Bullseye: Western Scout; the war comic Foxhole, since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier romance comic Young Love was still being widely imitated; and the crime comic Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created Fighting American. Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.  The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue The Double Life of Private Strong (June-Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of The Adventures of the Fly (Aug.-Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art. CANNOTANSWER

Question: Was the Black Magic comic series published by Crestwood?
Answer: In partnership with Crestwood Publications,
Joe Simon

Context: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published Boys' Ranch and launched an early horror comic, the atmospheric and non-gory series Black Magic. The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, Young Romance, starting a successful trend.  At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western Bullseye: Western Scout; the war comic Foxhole, since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier romance comic Young Love was still being widely imitated; and the crime comic Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created Fighting American. Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.  The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue The Double Life of Private Strong (June-Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of The Adventures of the Fly (Aug.-Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art. CANNOTANSWER

Question: Did Joe simon also create romance comics?
Answer: The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title,
Joe Simon

Context: As superhero comics waned in popularity after the end of World War II, Simon and Kirby began producing a variety of stories in many genres. In partnership with Crestwood Publications, they developed the imprint Prize Group, through which they published Boys' Ranch and launched an early horror comic, the atmospheric and non-gory series Black Magic. The team also produced crime and humor comics, and are credited as well with publishing the first romance comics title, Young Romance, starting a successful trend.  At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company, Mainline Publications, in late 1953 or early 1954, subletting space from their friend Al Harvey's Harvey Publications at 1860 Broadway. Mainline published four titles: the Western Bullseye: Western Scout; the war comic Foxhole, since EC Comics and Atlas Comics were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier romance comic Young Love was still being widely imitated; and the crime comic Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. Bitter that Timely Comics' 1950s iteration, Atlas Comics, had relaunched Captain America in a new series in 1954, Kirby and Simon created Fighting American. Simon recalled, "We thought we'd show them how to do Captain America". While the comic book initially portrayed the protagonist as an anti-Communist dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the Army-McCarthy hearings and the public backlash against the Red-baiting U.S. Senator Joseph McCarthy.  The partnership ended in 1955 with the comic book industry beset by self-imposed censorship, negative publicity, and a slump in sales. Simon "wanted to do other things and I stuck with comics," Kirby recalled in 1971. "It was fine. There was no reason to continue the partnership and we parted friends." Simon turned primarily to advertising and commercial art, while dipping back into comics on occasion. The Simon and Kirby team reunited briefly in 1959 with Simon writing and collaborating on art for Archie Comics, where the duo updated the superhero the Shield in the two-issue The Double Life of Private Strong (June-Aug. 1959), and Simon created the superhero the Fly; they went on to collaborate on the first two issues of The Adventures of the Fly (Aug.-Sept. 1959), and Simon and other artists, including Al Williamson, Jack Davis, and Carl Burgos, did four issues before Simon moved on to work in commercial art. CANNOTANSWER

Question: Besides the team, who else was  creating comics?
Answer: Kirby and Simon
Chimú culture

Context: The Chimu society was a four-level hierarchical system, with a powerful elite rule over administrative centers. The hierarchy was centered at the walled cities, called ciudadelas, at Chan Chan. The political power at Chan Chan is demonstrated by the organization of labor to construct the Chimu's canals and irrigated fields.  Chan Chan was the top of the Chimu hierarchy, with Farfan in the Jequetepeque Valley as a subordinate. This organization, which was quickly established during the conquest of the Jequetepeque Valley, suggests the Chimu established the hierarchy during the early stages of their expansion. The existing elite at peripheral locations, such as the Jequetepeque Valley and other centers of power, were incorporated into the Chimu government on lower levels of the hierarchy. These lower-order centers managed land, water, and labor, while the higher-order centers either moved the resources to Chan Chan or carried out other administrative decisions. Rural sites were used as engineering headquarters, while the canals were being built; later they operated as maintenance sites. The numerous broken bowls found at Quebrada del Oso support this theory, as the bowls were probably used to feed the large workforce that built and maintained that section of canal. The workers were probably fed and housed at state expense.  The state governed such social classes until the empire of the Sican culture conquered the kingdom of Lambayeque, Peru. The legends of war were said to have been told by the leaders Naylamp in the Sican language and Tacayanamo in Chimu. The people paid tribute to the rulers with products or labor. By 1470, the Inca Empire from Cusco defeated the Chimu. They moved Minchancaman, the final Chimu emperor, to Cusco and redirected gold and silver there to adorn the Qurikancha. CANNOTANSWER

Question: What did the Chimú rule consist of?
Answer: a powerful elite rule over administrative centers. The hierarchy was centered at the walled cities, called ciudadelas, at Chan Chan.
Chimú culture

Context: The Chimu society was a four-level hierarchical system, with a powerful elite rule over administrative centers. The hierarchy was centered at the walled cities, called ciudadelas, at Chan Chan. The political power at Chan Chan is demonstrated by the organization of labor to construct the Chimu's canals and irrigated fields.  Chan Chan was the top of the Chimu hierarchy, with Farfan in the Jequetepeque Valley as a subordinate. This organization, which was quickly established during the conquest of the Jequetepeque Valley, suggests the Chimu established the hierarchy during the early stages of their expansion. The existing elite at peripheral locations, such as the Jequetepeque Valley and other centers of power, were incorporated into the Chimu government on lower levels of the hierarchy. These lower-order centers managed land, water, and labor, while the higher-order centers either moved the resources to Chan Chan or carried out other administrative decisions. Rural sites were used as engineering headquarters, while the canals were being built; later they operated as maintenance sites. The numerous broken bowls found at Quebrada del Oso support this theory, as the bowls were probably used to feed the large workforce that built and maintained that section of canal. The workers were probably fed and housed at state expense.  The state governed such social classes until the empire of the Sican culture conquered the kingdom of Lambayeque, Peru. The legends of war were said to have been told by the leaders Naylamp in the Sican language and Tacayanamo in Chimu. The people paid tribute to the rulers with products or labor. By 1470, the Inca Empire from Cusco defeated the Chimu. They moved Minchancaman, the final Chimu emperor, to Cusco and redirected gold and silver there to adorn the Qurikancha. CANNOTANSWER

Question: Where was the Chimú located?
Answer: the Jequetepeque Valley
Chimú culture

Context: The Chimu society was a four-level hierarchical system, with a powerful elite rule over administrative centers. The hierarchy was centered at the walled cities, called ciudadelas, at Chan Chan. The political power at Chan Chan is demonstrated by the organization of labor to construct the Chimu's canals and irrigated fields.  Chan Chan was the top of the Chimu hierarchy, with Farfan in the Jequetepeque Valley as a subordinate. This organization, which was quickly established during the conquest of the Jequetepeque Valley, suggests the Chimu established the hierarchy during the early stages of their expansion. The existing elite at peripheral locations, such as the Jequetepeque Valley and other centers of power, were incorporated into the Chimu government on lower levels of the hierarchy. These lower-order centers managed land, water, and labor, while the higher-order centers either moved the resources to Chan Chan or carried out other administrative decisions. Rural sites were used as engineering headquarters, while the canals were being built; later they operated as maintenance sites. The numerous broken bowls found at Quebrada del Oso support this theory, as the bowls were probably used to feed the large workforce that built and maintained that section of canal. The workers were probably fed and housed at state expense.  The state governed such social classes until the empire of the Sican culture conquered the kingdom of Lambayeque, Peru. The legends of war were said to have been told by the leaders Naylamp in the Sican language and Tacayanamo in Chimu. The people paid tribute to the rulers with products or labor. By 1470, the Inca Empire from Cusco defeated the Chimu. They moved Minchancaman, the final Chimu emperor, to Cusco and redirected gold and silver there to adorn the Qurikancha. CANNOTANSWER

Question: Who was at the bottom of the Chimú hierarchy?
Answer: lower-order centers managed land, water, and labor, while the higher-order centers either moved the resources to Chan Chan or carried out other administrative decisions.