gaussalgo/Canard_Wiki-augmented huggingface dataset:
Norm O'Neill

Context: Identified as a future Test prospect, he was selected in a Western Australia Combined XI for a match against the touring England cricket team at the start of the 1958-59 season in Perth. Prior to the match, O'Neill was hounded by the media. The tourists decided to test him with short-pitched bowling, especially Fred Trueman. O'Neill decided to abstain from hooking, while attacking the spin of Jim Laker with a series of sweep shots. After four and a half hours of uncharacteristic restraint, he compiled 104 with an emphasis on off side play. He took a total of 2/67, removing Fred Trueman and Arthur Milton.  He scored 85 against Western Australia and then made 84 not out for New South Wales against England. He was selected for an Australian XI, which played the tourists in a dress rehearsal before the Tests. He made one and two as Australia were crushed by 345 runs.  Nevertheless, O'Neill was selected to make his debut in the five-Test series against England, playing in all of the matches. The First Test in Brisbane was a low scoring match described by Australian captain Richie Benaud as producing "some of the slowest and worst cricket imaginable", O'Neill made 34 in Australia's first innings of 186 to help secure a lead of 52. He then top-scored with an unbeaten 71 in the second innings, guiding Australia to an eight-wicket victory. O'Neill scored 71 of the last 89 runs scored while he was at the crease, refusing to be dried up by the England's usage of leg theory. It enlivened a match plagued by time-wasting, and best remembered for a depressingly slow innings by England's Trevor Bailey, who scored 68 from 426 balls in seven and a half hours. England captain Peter May described O'Neill's innings as "sparkling" and said that it made "everything which had gone before look even more wretched". Retired English player Ian Peebles, writing in the Sunday Times, said "Although O'Neill is in the very early stages of his career, it is already something of an occasion when he comes to the wicket, and one can sense the expectancy of the crowd and the heightened tension of the opposition". Wisden opined that O'Neill had "saved a game that had been tortuous for days". For his part, O'Neill said that the dour play was "unbelievable" and that he was "just about falling to sleep" in the field.  He struck 77 in the rain-affected drawn Third Test at the Sydney Cricket Ground and followed this with 56 in the Fourth Test in Adelaide. Despite making a duck in the Fifth Test, he ended the series as the second highest runscorer with 282 at 56.40 as Australia took the series 4-0. He bowled two overs without success. Outside the Tests, O'Neill scored 155 and 128 against Victoria and Western Australia respectively as New South Wales completed their sixth successive Sheffield Shield win. CANNOTANSWER

Question: Was Norm O'Neill successful against the England cricket team?
Answer: England captain Peter May described O'Neill's innings as "sparkling" and said that it made "everything which had gone before look even more wretched".
Echo & the Bunnymen

Context: Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When Cope sacked McCulloch from the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined forces with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name:  We had this mate who kept suggesting all these names like The Daz Men or Glisserol and the Fan Extractors. Echo and the Bunnymen was one of them. I thought it was just as stupid as the rest.  In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time.  Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion.  By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim. Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49. CANNOTANSWER

Question: What year is the Echo & the Bunnymen, Early years from?
Answer: 1977,
Echo & the Bunnymen

Context: Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When Cope sacked McCulloch from the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined forces with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name:  We had this mate who kept suggesting all these names like The Daz Men or Glisserol and the Fan Extractors. Echo and the Bunnymen was one of them. I thought it was just as stupid as the rest.  In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time.  Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion.  By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim. Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49. CANNOTANSWER

Question: What was the Echo & the Bunnymen's best song?
Answer: Read It in Books
Echo & the Bunnymen

Context: Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When Cope sacked McCulloch from the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined forces with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name:  We had this mate who kept suggesting all these names like The Daz Men or Glisserol and the Fan Extractors. Echo and the Bunnymen was one of them. I thought it was just as stupid as the rest.  In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time.  Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion.  By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim. Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49. CANNOTANSWER

Question: What was the Echo & the Bunnymen's first hit?
Answer: Robert Mitchum
Echo & the Bunnymen

Context: Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When Cope sacked McCulloch from the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined forces with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name:  We had this mate who kept suggesting all these names like The Daz Men or Glisserol and the Fan Extractors. Echo and the Bunnymen was one of them. I thought it was just as stupid as the rest.  In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time.  Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion.  By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim. Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49. CANNOTANSWER

Question: What was the Echo & the Bunnymen's first hit in the UK?
Answer: I Bagsy Yours
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: What did James Levine do with the Opera?
Answer: During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: Was James Levine a singer or writer?
Answer: he was named principal conductor of the Metropolitan Opera in February 1972.
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: How long did James Levine work with Metropolitan Opera?
Answer: Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met.
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: Why did James Levine withdraw from Metropolitan Opera?
Answer: Following a series of injuries that began with a fall (see below), Levine's subsequent health problems
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: Besides health problems, any other reasons James Levine left?
Answer: CANNOTANSWER
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: What injuries came with James Levine fall?
Answer: when in the wake of allegations that Levine had sexually abused four young men,
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: What came of James Levine sexual abuse allegations?
Answer: CANNOTANSWER
James Levine

Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company. CANNOTANSWER

Question: Besides James Levine sexual abuse allegations, anything else interesting you would like to share?
Answer: Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country,
Fred Hampton

Context: About the same time that Hampton was successfully organizing young African-Americans for the NAACP, the Black Panther Party (BPP) started rising to national prominence. Hampton was quickly attracted to the Black Panthers' approach, which was based on a ten-point program that integrated black self-determination on the basis of Maoism. Hampton joined the Party and relocated to downtown Chicago, and in November 1968 he joined the Party's nascent Illinois chapter--founded by Student Nonviolent Coordinating Committee (SNCC) organizer Bob Brown in late 1967. Over the next year, Hampton and his associates made a number of significant achievements in Chicago. Perhaps his most important accomplishment was his brokering of a nonaggression pact between Chicago's most powerful street gangs. Emphasizing that racial and ethnic conflict between gangs would only keep its members entrenched in poverty, Hampton strove to forge a class-conscious, multi-racial alliance between the BPP, the Young Patriots Organization, and the Young Lords under the leadership of Jose Cha Cha Jimenez.  Fred Hampton met the Young Lords in the Chicago Lincoln Park Neighborhood, the day after the Young Lords were in the news after they had occupied a police community workshop meeting, held on the second floor hall of the Chicago 18th District Police Station. Later, the Rainbow Coalition was joined nationwide by the Students for a Democratic Society ("SDS"), the Brown Berets, and the Red Guard Party. In May 1969, Hampton called a press conference to announce that this "rainbow coalition" had formed. It was a phrase coined by Hampton and made popular over the years by Reverend Jesse Jackson, who eventually appropriated the name in forming his own, unrelated, coalition, Rainbow/PUSH.  Hampton's organizing skills, substantial oratorical gifts, and personal charisma allowed him to rise quickly in the Black Panthers. Once he became leader of the Chicago chapter, he organized weekly rallies, worked closely with the BPP's local People's Clinic, taught political education classes every morning at 6am, and launched a project for community supervision of the police. Hampton was also instrumental in the BPP's Free Breakfast Program. When Brown left the Party with Stokely Carmichael in the FBI-fomented SNCC/Panther split, Hampton assumed chairmanship of the Illinois state BPP, automatically making him a national BPP deputy chairman. As the Panther leadership across the country began to be decimated by the impact of the FBI's COINTELPRO, Hampton's prominence in the national hierarchy increased rapidly and dramatically. Eventually, Hampton was in line to be appointed to the Party's Central Committee's Chief of Staff. He would have achieved this position had it not been for his death on the morning of December 4, 1969. CANNOTANSWER

Question: What happened in Chicago to Fred Hampton?
Answer: Fred Hampton met the Young Lords in the Chicago Lincoln Park Neighborhood,
Fred Hampton

Context: About the same time that Hampton was successfully organizing young African-Americans for the NAACP, the Black Panther Party (BPP) started rising to national prominence. Hampton was quickly attracted to the Black Panthers' approach, which was based on a ten-point program that integrated black self-determination on the basis of Maoism. Hampton joined the Party and relocated to downtown Chicago, and in November 1968 he joined the Party's nascent Illinois chapter--founded by Student Nonviolent Coordinating Committee (SNCC) organizer Bob Brown in late 1967. Over the next year, Hampton and his associates made a number of significant achievements in Chicago. Perhaps his most important accomplishment was his brokering of a nonaggression pact between Chicago's most powerful street gangs. Emphasizing that racial and ethnic conflict between gangs would only keep its members entrenched in poverty, Hampton strove to forge a class-conscious, multi-racial alliance between the BPP, the Young Patriots Organization, and the Young Lords under the leadership of Jose Cha Cha Jimenez.  Fred Hampton met the Young Lords in the Chicago Lincoln Park Neighborhood, the day after the Young Lords were in the news after they had occupied a police community workshop meeting, held on the second floor hall of the Chicago 18th District Police Station. Later, the Rainbow Coalition was joined nationwide by the Students for a Democratic Society ("SDS"), the Brown Berets, and the Red Guard Party. In May 1969, Hampton called a press conference to announce that this "rainbow coalition" had formed. It was a phrase coined by Hampton and made popular over the years by Reverend Jesse Jackson, who eventually appropriated the name in forming his own, unrelated, coalition, Rainbow/PUSH.  Hampton's organizing skills, substantial oratorical gifts, and personal charisma allowed him to rise quickly in the Black Panthers. Once he became leader of the Chicago chapter, he organized weekly rallies, worked closely with the BPP's local People's Clinic, taught political education classes every morning at 6am, and launched a project for community supervision of the police. Hampton was also instrumental in the BPP's Free Breakfast Program. When Brown left the Party with Stokely Carmichael in the FBI-fomented SNCC/Panther split, Hampton assumed chairmanship of the Illinois state BPP, automatically making him a national BPP deputy chairman. As the Panther leadership across the country began to be decimated by the impact of the FBI's COINTELPRO, Hampton's prominence in the national hierarchy increased rapidly and dramatically. Eventually, Hampton was in line to be appointed to the Party's Central Committee's Chief of Staff. He would have achieved this position had it not been for his death on the morning of December 4, 1969. CANNOTANSWER

Question: who are the young lords that Fred Hampton met?
Answer: the Young Lords were in the news after they had occupied a police community workshop meeting,
Fred Hampton

Context: About the same time that Hampton was successfully organizing young African-Americans for the NAACP, the Black Panther Party (BPP) started rising to national prominence. Hampton was quickly attracted to the Black Panthers' approach, which was based on a ten-point program that integrated black self-determination on the basis of Maoism. Hampton joined the Party and relocated to downtown Chicago, and in November 1968 he joined the Party's nascent Illinois chapter--founded by Student Nonviolent Coordinating Committee (SNCC) organizer Bob Brown in late 1967. Over the next year, Hampton and his associates made a number of significant achievements in Chicago. Perhaps his most important accomplishment was his brokering of a nonaggression pact between Chicago's most powerful street gangs. Emphasizing that racial and ethnic conflict between gangs would only keep its members entrenched in poverty, Hampton strove to forge a class-conscious, multi-racial alliance between the BPP, the Young Patriots Organization, and the Young Lords under the leadership of Jose Cha Cha Jimenez.  Fred Hampton met the Young Lords in the Chicago Lincoln Park Neighborhood, the day after the Young Lords were in the news after they had occupied a police community workshop meeting, held on the second floor hall of the Chicago 18th District Police Station. Later, the Rainbow Coalition was joined nationwide by the Students for a Democratic Society ("SDS"), the Brown Berets, and the Red Guard Party. In May 1969, Hampton called a press conference to announce that this "rainbow coalition" had formed. It was a phrase coined by Hampton and made popular over the years by Reverend Jesse Jackson, who eventually appropriated the name in forming his own, unrelated, coalition, Rainbow/PUSH.  Hampton's organizing skills, substantial oratorical gifts, and personal charisma allowed him to rise quickly in the Black Panthers. Once he became leader of the Chicago chapter, he organized weekly rallies, worked closely with the BPP's local People's Clinic, taught political education classes every morning at 6am, and launched a project for community supervision of the police. Hampton was also instrumental in the BPP's Free Breakfast Program. When Brown left the Party with Stokely Carmichael in the FBI-fomented SNCC/Panther split, Hampton assumed chairmanship of the Illinois state BPP, automatically making him a national BPP deputy chairman. As the Panther leadership across the country began to be decimated by the impact of the FBI's COINTELPRO, Hampton's prominence in the national hierarchy increased rapidly and dramatically. Eventually, Hampton was in line to be appointed to the Party's Central Committee's Chief of Staff. He would have achieved this position had it not been for his death on the morning of December 4, 1969. CANNOTANSWER

Question: How did the Young Lords being in the news effect Fred Hampton?
Answer: Hampton called a press conference to announce that this "rainbow coalition" had formed.
Fred Hampton

Context: About the same time that Hampton was successfully organizing young African-Americans for the NAACP, the Black Panther Party (BPP) started rising to national prominence. Hampton was quickly attracted to the Black Panthers' approach, which was based on a ten-point program that integrated black self-determination on the basis of Maoism. Hampton joined the Party and relocated to downtown Chicago, and in November 1968 he joined the Party's nascent Illinois chapter--founded by Student Nonviolent Coordinating Committee (SNCC) organizer Bob Brown in late 1967. Over the next year, Hampton and his associates made a number of significant achievements in Chicago. Perhaps his most important accomplishment was his brokering of a nonaggression pact between Chicago's most powerful street gangs. Emphasizing that racial and ethnic conflict between gangs would only keep its members entrenched in poverty, Hampton strove to forge a class-conscious, multi-racial alliance between the BPP, the Young Patriots Organization, and the Young Lords under the leadership of Jose Cha Cha Jimenez.  Fred Hampton met the Young Lords in the Chicago Lincoln Park Neighborhood, the day after the Young Lords were in the news after they had occupied a police community workshop meeting, held on the second floor hall of the Chicago 18th District Police Station. Later, the Rainbow Coalition was joined nationwide by the Students for a Democratic Society ("SDS"), the Brown Berets, and the Red Guard Party. In May 1969, Hampton called a press conference to announce that this "rainbow coalition" had formed. It was a phrase coined by Hampton and made popular over the years by Reverend Jesse Jackson, who eventually appropriated the name in forming his own, unrelated, coalition, Rainbow/PUSH.  Hampton's organizing skills, substantial oratorical gifts, and personal charisma allowed him to rise quickly in the Black Panthers. Once he became leader of the Chicago chapter, he organized weekly rallies, worked closely with the BPP's local People's Clinic, taught political education classes every morning at 6am, and launched a project for community supervision of the police. Hampton was also instrumental in the BPP's Free Breakfast Program. When Brown left the Party with Stokely Carmichael in the FBI-fomented SNCC/Panther split, Hampton assumed chairmanship of the Illinois state BPP, automatically making him a national BPP deputy chairman. As the Panther leadership across the country began to be decimated by the impact of the FBI's COINTELPRO, Hampton's prominence in the national hierarchy increased rapidly and dramatically. Eventually, Hampton was in line to be appointed to the Party's Central Committee's Chief of Staff. He would have achieved this position had it not been for his death on the morning of December 4, 1969. CANNOTANSWER

Question: Besides the "rainbow coalition", Are there any other interesting aspects about this article regarding Fred Hampton?
Answer: Hampton was successfully organizing young African-Americans for the NAACP, the Black Panther Party
Adam Lambert

Context: Critics, celebrities and colleagues have been outspoken in their praise for Lambert's vocal command. Kathie Bretches-Urban, co-founder of Metropolitan Educational Theatre Network (now MET2) where Lambert performed as a youth, said "He has invested his entire life in music and performing ... He'd just come out onstage, and it popped". Record producer Rob Cavallo once described Lambert as having an unlimited range, and able to sing every note on a guitar from the lowest to the highest. In a March 2012 interview, rock artist Meat Loaf rated Lambert's voice in the company of only two others, Whitney Houston and Aretha Franklin, based on "that jet pack quality to their voice that just lets it take off." Lambert's total recorded vocal range spans from bass E to B flat above tenor high C (E2 - B5), giving him three octaves and six semitones.  In 2011, when he took the stage at the MTV Europe Music Awards, honoree Queen guitarist Brian May noted that Lambert's voice has "sensitivity, depth, maturity, and awesome range and power which will make jaws drop"; while Roger Taylor added that Lambert had "the best range I've ever heard" in a BBC interview in 2012. Pharrell Williams, after collaborating with Lambert on his Trespassing album, commented, "This kid has a voice like a siren - there's no guys singing in that Steve Winwood-Peter Cetera range."  In October 2012, British tabloid the Sunday Mirror reported that Lambert had insured his voice for $48 million. A source told the newspaper: "Insurance for stars is a big deal in the US and Adam's voice is his bacon." CANNOTANSWER

Question: Is Adam Lambert's voice special?
Answer: Lambert's total recorded vocal range spans from bass E to B flat above tenor high C (E2 - B5), giving him three octaves and six semitones.