gaussalgo/Canard_Wiki-augmented huggingface dataset:
Titãs

Context: On July 11, 2016, vocalist, guitarist and founding member Paulo Miklos announced he would leave the band to focus on his personal projects. He was then replaced by session member Beto Lee, son of Brazilian notorious rock singer Rita Lee.  His first recording with the band is a version of "Pro Dia Nascer Feliz", originally by Barao Vermelho, for the soundtrack of the 24th season of Malhacao, a Rede Globo series. With Lee's inclusion, the band recovered some old songs for its live setlists, including Titanomaquia's "Sera Que E Disso Que Eu Necessito?" and " Nem Sempre se Pode Ser Deus". They also started to have Bellotto sing in some songs.  Also in 2016, the band announced a new album for a possible 2017 release. According to Bellotto, it will be a rock opera, and the band intended to enter the studio until mid-2017 so the album could be released in the year's second half. Drawing inspiration from albums such as The Who's Quadrophenia and Green Day's American Idiot, the over 30-track rock opera will have its story written by Hugo Possolo and Marcelo Rubens Paiva. By April 2017, Mello said a handful of tracks were ready.  Also in April, the band started a tour called "Uma Noite no Teatro" (A Night at the Theater) with a show that was also the inaugurating event of Shopping Villa-Lobos' theater Opus. The tour included three new songs: "Me Estuprem" (Rape Me), about sexual harassment and rape; "12 Flores Amarelas" (12 Yellow Flowers); and "A Festa" (The Party). By that time, none of them were expected to be featured in the band's next album. On 23 September, however, the band performed them again during their show at the Rock in Rio 7, and this time they were announced as part of the new project. On December 2017, they announced that they had already started recording the album and that it would be released via Universal Music. In January 31, they announced that the opera rock would be released in early 2018 and that its title would be 12 Flores Amarelas. CANNOTANSWER

Question: Was Titãs, Miklos replaced by anyone ?
Answer: He was then replaced by session member Beto Lee,
Titãs

Context: On July 11, 2016, vocalist, guitarist and founding member Paulo Miklos announced he would leave the band to focus on his personal projects. He was then replaced by session member Beto Lee, son of Brazilian notorious rock singer Rita Lee.  His first recording with the band is a version of "Pro Dia Nascer Feliz", originally by Barao Vermelho, for the soundtrack of the 24th season of Malhacao, a Rede Globo series. With Lee's inclusion, the band recovered some old songs for its live setlists, including Titanomaquia's "Sera Que E Disso Que Eu Necessito?" and " Nem Sempre se Pode Ser Deus". They also started to have Bellotto sing in some songs.  Also in 2016, the band announced a new album for a possible 2017 release. According to Bellotto, it will be a rock opera, and the band intended to enter the studio until mid-2017 so the album could be released in the year's second half. Drawing inspiration from albums such as The Who's Quadrophenia and Green Day's American Idiot, the over 30-track rock opera will have its story written by Hugo Possolo and Marcelo Rubens Paiva. By April 2017, Mello said a handful of tracks were ready.  Also in April, the band started a tour called "Uma Noite no Teatro" (A Night at the Theater) with a show that was also the inaugurating event of Shopping Villa-Lobos' theater Opus. The tour included three new songs: "Me Estuprem" (Rape Me), about sexual harassment and rape; "12 Flores Amarelas" (12 Yellow Flowers); and "A Festa" (The Party). By that time, none of them were expected to be featured in the band's next album. On 23 September, however, the band performed them again during their show at the Rock in Rio 7, and this time they were announced as part of the new project. On December 2017, they announced that they had already started recording the album and that it would be released via Universal Music. In January 31, they announced that the opera rock would be released in early 2018 and that its title would be 12 Flores Amarelas. CANNOTANSWER

Question: What new songs did session member Beto Lee sing?
Answer: His first recording with the band is a version of "Pro Dia Nascer Feliz",
Titãs

Context: On July 11, 2016, vocalist, guitarist and founding member Paulo Miklos announced he would leave the band to focus on his personal projects. He was then replaced by session member Beto Lee, son of Brazilian notorious rock singer Rita Lee.  His first recording with the band is a version of "Pro Dia Nascer Feliz", originally by Barao Vermelho, for the soundtrack of the 24th season of Malhacao, a Rede Globo series. With Lee's inclusion, the band recovered some old songs for its live setlists, including Titanomaquia's "Sera Que E Disso Que Eu Necessito?" and " Nem Sempre se Pode Ser Deus". They also started to have Bellotto sing in some songs.  Also in 2016, the band announced a new album for a possible 2017 release. According to Bellotto, it will be a rock opera, and the band intended to enter the studio until mid-2017 so the album could be released in the year's second half. Drawing inspiration from albums such as The Who's Quadrophenia and Green Day's American Idiot, the over 30-track rock opera will have its story written by Hugo Possolo and Marcelo Rubens Paiva. By April 2017, Mello said a handful of tracks were ready.  Also in April, the band started a tour called "Uma Noite no Teatro" (A Night at the Theater) with a show that was also the inaugurating event of Shopping Villa-Lobos' theater Opus. The tour included three new songs: "Me Estuprem" (Rape Me), about sexual harassment and rape; "12 Flores Amarelas" (12 Yellow Flowers); and "A Festa" (The Party). By that time, none of them were expected to be featured in the band's next album. On 23 September, however, the band performed them again during their show at the Rock in Rio 7, and this time they were announced as part of the new project. On December 2017, they announced that they had already started recording the album and that it would be released via Universal Music. In January 31, they announced that the opera rock would be released in early 2018 and that its title would be 12 Flores Amarelas. CANNOTANSWER

Question: On which Album was session member Beto Lee's Pro Dia Nascer Feliz featured?
Answer: CANNOTANSWER
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: What was the time frame of the Medieval era as pertains to Odissi?
Answer: archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE.
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Where are the carvings on Odissi?
Answer: Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites.
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Other than the era, Anything else interesting about Odissi?
Answer: Actual sculptures that have survived into the modern era and panel reliefs in Odia temples,
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Have the sculptures been dated to be Odissi from the medieval era?
Answer: from the 10th to 14th century,
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: What were the Odissi dancers called?
Answer: the dancers called Maharis,
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: What were the Odissi dances based on?
Answer: spiritual poems and underlying religious plays,
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Have there been any manuscripts or artifacts obtained or discovered about Odissi?
Answer: Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance.
Odissi

Context: The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE.  According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures.  Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.  The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services. CANNOTANSWER

Question: Where are the sculptures of Odissi dancers located?
Answer: Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha.
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: What happened to Billy Joel in 1965?
Answer: Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965.
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: Was the Echoes successful with Billy Joel in the group?
Answer: CANNOTANSWER
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: Did the Echoes release any albums?
Answer: CANNOTANSWER
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: Other than join the Echoes, What else did Billy Joel do in his early career?
Answer: Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records.
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: Did Billy Joel stay with The Hassles group long?
Answer: Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures.
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: How did Billy Joel handle the  four singles and two albums failures?
Answer: Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October
Billy Joel

Context: Influenced by early-rock-and-roll and rhythm-and-blues artists, including groups such as The Beatles, The Drifters and The Four Seasons, he favored tightly-structured pop melodies and down-to-earth, unpretentious songwriting.  After seeing The Beatles on The Ed Sullivan Show, Joel decided to pursue a career in music. In an interview he said of the group's impact, "That one performance changed my life ... Up to that moment I'd never considered playing rock as a career. And when I saw four guys who didn't look like they'd come out of the Hollywood star mill, who played their own songs and instruments, and especially because you could see this look in John Lennon's face - and he looked like he was always saying: 'F--- you!' - I said: 'I know these guys, I can relate to these guys, I am these guys.' This is what I'm going to do - play in a rock band'."  Joel joined the Echoes, a group that specialized in British Invasion covers. The Echoes began recording in 1965. Joel (then 16) also played piano on several records released through Kama Sutra Productions and on recordings produced by Shadow Morton. Joel played on a demo version of "Leader of the Pack", which would become a major hit for the Shangri-Las. Joel states that in 1964 he played on a recording of the Shangri-Las' "Remember (Walking in the Sand)" but he is unaware of whether he played on the demo or master version; The released single included a co-producer credit for Artie Ripp, who later was the first to sign and produce Joel as a solo artist after Michael Lang, who had given Joel a monetary advance, passed Joel along to Ripp to focus his attentions elsewhere instead.  In late 1965, the Echoes changed their name to the Emeralds and then to the Lost Souls. Joel left the band in 1967 to join the Hassles, a Long Island group that had signed with United Artists Records. Over the next year and a half they released four singles and two albums (The Hassles and Hour of the Wolf). All were commercial failures. Joel and drummer Jon Small left the Hassles in 1969 to form the duo Attila, releasing an eponymous debut album in July 1970. The duo disbanded the following October when Joel began an affair with Small's wife, Elizabeth, whom Joel eventually married. CANNOTANSWER

Question: How did Joel and Jon Small do as the performing duo Attila releasing debut album in July 1970 on the charts?
Answer: CANNOTANSWER
Bobby Fischer

Context: Bobby Fischer was born at Michael Reese Hospital in Chicago, Illinois, on March 9, 1943. His birth certificate listed his father as Hans-Gerhardt Fischer, also known as Gerardo Liebscher, a German biophysicist. His mother, Regina Wender Fischer, was a US citizen, born in Switzerland; her parents were Polish Jews. Raised in St. Louis, Missouri, Regina became a teacher, registered nurse, and later a physician.  After graduating from college in her teens, Regina traveled to Germany to visit her brother. It was there she met geneticist and future Nobel Prize winner Hermann Joseph Muller, who persuaded her to move to Moscow to study medicine. She enrolled at I.M. Sechenov First Moscow State Medical University, where she met Hans-Gerhardt, whom she married in November 1933. In 1938, Hans-Gerhardt and Regina had a daughter, Joan Fischer. The reemergence of anti-Semitism under Stalin prompted Regina to go with Joan to Paris, where Regina became an English teacher. The threat of a German invasion led her and Joan to go to the United States in 1939. Hans-Gerhardt attempted to follow the pair but, at that time, his German citizenship barred him from entering the United States. Regina and Hans-Gerhardt had separated in Moscow, although they did not officially divorce until 1945.  At the time of her son's birth, Regina was "homeless" and shuttled to different jobs and schools around the country to support her family. She engaged in political activism, and raised both Bobby and Joan as a single parent.  In 1949, the family moved to Brooklyn, New York City, where she studied for her master's degree in nursing and subsequently began working in that field. CANNOTANSWER

Question: Where did Bobby Fischer grow up?
Answer: Chicago, Illinois,
Bobby Fischer

Context: Bobby Fischer was born at Michael Reese Hospital in Chicago, Illinois, on March 9, 1943. His birth certificate listed his father as Hans-Gerhardt Fischer, also known as Gerardo Liebscher, a German biophysicist. His mother, Regina Wender Fischer, was a US citizen, born in Switzerland; her parents were Polish Jews. Raised in St. Louis, Missouri, Regina became a teacher, registered nurse, and later a physician.  After graduating from college in her teens, Regina traveled to Germany to visit her brother. It was there she met geneticist and future Nobel Prize winner Hermann Joseph Muller, who persuaded her to move to Moscow to study medicine. She enrolled at I.M. Sechenov First Moscow State Medical University, where she met Hans-Gerhardt, whom she married in November 1933. In 1938, Hans-Gerhardt and Regina had a daughter, Joan Fischer. The reemergence of anti-Semitism under Stalin prompted Regina to go with Joan to Paris, where Regina became an English teacher. The threat of a German invasion led her and Joan to go to the United States in 1939. Hans-Gerhardt attempted to follow the pair but, at that time, his German citizenship barred him from entering the United States. Regina and Hans-Gerhardt had separated in Moscow, although they did not officially divorce until 1945.  At the time of her son's birth, Regina was "homeless" and shuttled to different jobs and schools around the country to support her family. She engaged in political activism, and raised both Bobby and Joan as a single parent.  In 1949, the family moved to Brooklyn, New York City, where she studied for her master's degree in nursing and subsequently began working in that field. CANNOTANSWER

Question: Did Bobby Fischer have any siblings?
Answer: Joan Fischer.