gaussalgo/Canard_Wiki-augmented huggingface dataset:
Stereolab

Context: Stereolab's music is politically and philosophically charged. Laetitia Sadier, who writes the group's lyrics, said that her inspiration was most recently her anger towards the Iraq War. The Surrealist and Situationist cultural and political movements were also influences, as noted by Sadier and Gane in a 1999 Salon.com interview. Stewart Mason commented in an AllMusic review that the lyrics from the 1997 song "Miss Modular" "sound influenced by the Situationist theory of the 'spectacle'."  Critics have noted Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". "Ping Pong", a 1994 single included on the album Mars Audiac Quintet, was noted for its alleged Marxist lyrics. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Simon Reynolds and Stewart Mason, respectively).  Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.  Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", "Brakhage", the title of the first song on the 1997 album Dots and Loops, is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched on Bach, and the 1992 single "John Cage Bubblegum", named after experimental composer John Cage. CANNOTANSWER

Question: What influenced the title of Stereolab?
Answer: the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group",
Suzanne Lenglen

Context: The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0).  For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover.  Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis.  Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?" CANNOTANSWER

Question: How did Suzanne Lenglen's professional career begin?
Answer: The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States
Suzanne Lenglen

Context: The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0).  For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover.  Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis.  Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?" CANNOTANSWER

Question: What was Suzanne Lenglen's  first professional tournament?
Answer: For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players).
Suzanne Lenglen

Context: The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0).  For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover.  Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis.  Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?" CANNOTANSWER

Question: Did Suzanne Lenglen win her first tournament?
Answer: In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions
Suzanne Lenglen

Context: The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0).  For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover.  Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis.  Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?" CANNOTANSWER

Question: Besides Suzanne Lenglen being the first major female tennis star to turn professional, is there any other important information?
Answer: " When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0.
Suzanne Lenglen

Context: The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0).  For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover.  Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis.  Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?" CANNOTANSWER

Question: Did Suzanne Lenglen ever play against men?
Answer: CANNOTANSWER
John Ruskin

Context: Much of the period, from late 1840 to autumn 1842, Ruskin spent abroad with his parents, principally in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy. It recalled an attack by critic, Rev John Eagles, in Blackwood's Magazine in 1836, which had prompted Ruskin to write a long essay. John James had sent the piece to Turner who did not wish it to be published. It finally appeared in 1903.  Before Ruskin began Modern Painters, John James Ruskin had begun collecting watercolours, including works by Samuel Prout and, from 1839, Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842.  What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous but authoritative title, "A Graduate of Oxford," was Ruskin's response to Turner's critics. An electronic edition is available online. Ruskin controversially argued that modern landscape painters--and in particular Turner--were superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin maintained that Old Masters such as Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa, unlike Turner, favoured pictorial convention, and not "truth to nature". He explained that he meant "moral as well as material truth". The job of the artist is to observe the reality of nature and not to invent it in a studio--to render what he has seen and understood imaginatively on canvas, free of any rules of composition. For Ruskin, modern landscapists demonstrated superior understanding of the "truths" of water, air, clouds, stones, and vegetation, a profound appreciation of which Ruskin demonstrated in his own prose. He described works he had seen at the National Gallery and Dulwich Picture Gallery with extraordinary verbal felicity.  Although critics were slow to react and reviews were mixed, many notable literary and artistic figures were impressed with the young man's work, notably Charlotte Bronte and Elizabeth Gaskell. Suddenly Ruskin had found his metier, and in one leap helped redefine the genre of art criticism, mixing a discourse of polemic with aesthetics, scientific observation and ethics. It cemented Ruskin's relationship with Turner. After the artist died in 1851, Ruskin catalogued the nearly 20,000 sketches Turner gave to the British nation. CANNOTANSWER

Question: What was John Ruskin's Modern Painters I?
Answer: What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous but authoritative title, "A Graduate of Oxford,
John Ruskin

Context: Much of the period, from late 1840 to autumn 1842, Ruskin spent abroad with his parents, principally in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy. It recalled an attack by critic, Rev John Eagles, in Blackwood's Magazine in 1836, which had prompted Ruskin to write a long essay. John James had sent the piece to Turner who did not wish it to be published. It finally appeared in 1903.  Before Ruskin began Modern Painters, John James Ruskin had begun collecting watercolours, including works by Samuel Prout and, from 1839, Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842.  What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous but authoritative title, "A Graduate of Oxford," was Ruskin's response to Turner's critics. An electronic edition is available online. Ruskin controversially argued that modern landscape painters--and in particular Turner--were superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin maintained that Old Masters such as Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa, unlike Turner, favoured pictorial convention, and not "truth to nature". He explained that he meant "moral as well as material truth". The job of the artist is to observe the reality of nature and not to invent it in a studio--to render what he has seen and understood imaginatively on canvas, free of any rules of composition. For Ruskin, modern landscapists demonstrated superior understanding of the "truths" of water, air, clouds, stones, and vegetation, a profound appreciation of which Ruskin demonstrated in his own prose. He described works he had seen at the National Gallery and Dulwich Picture Gallery with extraordinary verbal felicity.  Although critics were slow to react and reviews were mixed, many notable literary and artistic figures were impressed with the young man's work, notably Charlotte Bronte and Elizabeth Gaskell. Suddenly Ruskin had found his metier, and in one leap helped redefine the genre of art criticism, mixing a discourse of polemic with aesthetics, scientific observation and ethics. It cemented Ruskin's relationship with Turner. After the artist died in 1851, Ruskin catalogued the nearly 20,000 sketches Turner gave to the British nation. CANNOTANSWER

Question: What was the outcome of John Ruskin's Modern Painters?
Answer: CANNOTANSWER
John Ruskin

Context: Much of the period, from late 1840 to autumn 1842, Ruskin spent abroad with his parents, principally in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy. It recalled an attack by critic, Rev John Eagles, in Blackwood's Magazine in 1836, which had prompted Ruskin to write a long essay. John James had sent the piece to Turner who did not wish it to be published. It finally appeared in 1903.  Before Ruskin began Modern Painters, John James Ruskin had begun collecting watercolours, including works by Samuel Prout and, from 1839, Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842.  What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous but authoritative title, "A Graduate of Oxford," was Ruskin's response to Turner's critics. An electronic edition is available online. Ruskin controversially argued that modern landscape painters--and in particular Turner--were superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin maintained that Old Masters such as Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa, unlike Turner, favoured pictorial convention, and not "truth to nature". He explained that he meant "moral as well as material truth". The job of the artist is to observe the reality of nature and not to invent it in a studio--to render what he has seen and understood imaginatively on canvas, free of any rules of composition. For Ruskin, modern landscapists demonstrated superior understanding of the "truths" of water, air, clouds, stones, and vegetation, a profound appreciation of which Ruskin demonstrated in his own prose. He described works he had seen at the National Gallery and Dulwich Picture Gallery with extraordinary verbal felicity.  Although critics were slow to react and reviews were mixed, many notable literary and artistic figures were impressed with the young man's work, notably Charlotte Bronte and Elizabeth Gaskell. Suddenly Ruskin had found his metier, and in one leap helped redefine the genre of art criticism, mixing a discourse of polemic with aesthetics, scientific observation and ethics. It cemented Ruskin's relationship with Turner. After the artist died in 1851, Ruskin catalogued the nearly 20,000 sketches Turner gave to the British nation. CANNOTANSWER

Question: Was there a second volume of Modern Painters by John Ruskin?
Answer: CANNOTANSWER
John Ruskin

Context: Much of the period, from late 1840 to autumn 1842, Ruskin spent abroad with his parents, principally in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy. It recalled an attack by critic, Rev John Eagles, in Blackwood's Magazine in 1836, which had prompted Ruskin to write a long essay. John James had sent the piece to Turner who did not wish it to be published. It finally appeared in 1903.  Before Ruskin began Modern Painters, John James Ruskin had begun collecting watercolours, including works by Samuel Prout and, from 1839, Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842.  What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous but authoritative title, "A Graduate of Oxford," was Ruskin's response to Turner's critics. An electronic edition is available online. Ruskin controversially argued that modern landscape painters--and in particular Turner--were superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin maintained that Old Masters such as Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa, unlike Turner, favoured pictorial convention, and not "truth to nature". He explained that he meant "moral as well as material truth". The job of the artist is to observe the reality of nature and not to invent it in a studio--to render what he has seen and understood imaginatively on canvas, free of any rules of composition. For Ruskin, modern landscapists demonstrated superior understanding of the "truths" of water, air, clouds, stones, and vegetation, a profound appreciation of which Ruskin demonstrated in his own prose. He described works he had seen at the National Gallery and Dulwich Picture Gallery with extraordinary verbal felicity.  Although critics were slow to react and reviews were mixed, many notable literary and artistic figures were impressed with the young man's work, notably Charlotte Bronte and Elizabeth Gaskell. Suddenly Ruskin had found his metier, and in one leap helped redefine the genre of art criticism, mixing a discourse of polemic with aesthetics, scientific observation and ethics. It cemented Ruskin's relationship with Turner. After the artist died in 1851, Ruskin catalogued the nearly 20,000 sketches Turner gave to the British nation. CANNOTANSWER

Question: What was Modern Painters I by John Ruskin about?
Answer: online. Ruskin controversially argued that modern landscape painters--
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: Is "Her Majesty" the name of a Beatles' album?
Answer: recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road.
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: Besides McCartney, did the rest of the Beatles' like "Her Majesty"?
Answer: The Beatles liked this effect and included it on the album.
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: What was the effect in the album "Her Majesty" that the Beatles' liked?
Answer: cut a playback lacquer of the whole sequence, including "Her Majesty".
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: How was "Her Majesty" album received by the public?
Answer: CANNOTANSWER
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: Did any other musicians besides the Beatles contribute to "Her Majesty"?
Answer: The second engineer, John Kurlander,
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: What year was "Her Majesty" album created by the Beatles?
Answer: Her Majesty" was recorded by McCartney on 2 July
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: Besides McCartney's creativity, was the creation of "Her Majesty" influenced by any other songs
Answer: Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam".
Abbey Road

Context: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album.  "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album.  Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. CANNOTANSWER

Question: How much did John Lennon contribute to the song "Her Majesty"?
Answer: CANNOTANSWER
Duncan Hunter

Context: On December 8, 2006, Hunter introduced H.R. 6375, which would have required the defense department to post the purpose of all congressional earmarks in annual defense bills, along with the location and a grade according to the utility of the earmark.  Hunter introduced H.R. 552, The Right to Life Act, on February 2, 2005. The purpose of the bill is to "implement equal protection... for the right to life of each born and preborn human person." In the 109th Congress, the legislation collected 101 cosponsors. Hunter states that The Right to Life Act "would legally define "personhood" as the moment of conception and, therefore, guarantee all constitutional rights and protections, including life, to the unborn without utilizing a constitutional amendment." Hearings for H.R. 552 were scheduled for December 12, 2006, but were cancelled right before the House adjourned.  On April 28, 2004, Hunter introduced legislation that he said could "turn parents into prosecuting attorneys fighting a wave of obscenity." HR 6390 IH, also called the "Parents Empowerment Act", would allow the parent or guardian of a minor to sue in federal court anyone who knowingly disseminates material "that is harmful to minors", or specifically, "any pornographic communication, picture, image, graphic image file, article, recording, writing, or other pornographic matter of any kind", if it is distributed in a way that "a reasonable person can expect a substantial number of minors to be exposed to the material and the minor, as a result to exposure to the material, is likely to suffer personal or emotional injury or injury to mental or moral welfare."  In 1994, Hunter legislatively mandated the construction of 14 miles (23 km) of security fencing on the international land border separating San Diego County and Tijuana, Mexico. In 2005, Hunter introduced legislation calling for the construction of a reinforced fence along the entire U.S.-Mexico border, citing crime statistics as measures of San Diego-Tijuana fence's success. After successfully adding an amendment to a House-passed bill that ultimately stalled in House-Senate negotiations, Hunter's amendment was later incorporated into H.R. 6061, the Secure Fence Act, introduced by New York Congressman Peter T. King. He has said that if he becomes President, the 754-mile (1,213 km) double layer border fence will be built in less than 12 months.  Hunter repeatedly voted against international trade agreements such as the North American Free Trade Agreement (NAFTA), the Central America Free Trade Agreement (CAFTA) and the World Trade Organization (WTO). CANNOTANSWER

Question: What were some of Duncan Hunter's other legislative actions?
Answer: 2006, Hunter introduced H.R. 6375,
Duncan Hunter

Context: On December 8, 2006, Hunter introduced H.R. 6375, which would have required the defense department to post the purpose of all congressional earmarks in annual defense bills, along with the location and a grade according to the utility of the earmark.  Hunter introduced H.R. 552, The Right to Life Act, on February 2, 2005. The purpose of the bill is to "implement equal protection... for the right to life of each born and preborn human person." In the 109th Congress, the legislation collected 101 cosponsors. Hunter states that The Right to Life Act "would legally define "personhood" as the moment of conception and, therefore, guarantee all constitutional rights and protections, including life, to the unborn without utilizing a constitutional amendment." Hearings for H.R. 552 were scheduled for December 12, 2006, but were cancelled right before the House adjourned.  On April 28, 2004, Hunter introduced legislation that he said could "turn parents into prosecuting attorneys fighting a wave of obscenity." HR 6390 IH, also called the "Parents Empowerment Act", would allow the parent or guardian of a minor to sue in federal court anyone who knowingly disseminates material "that is harmful to minors", or specifically, "any pornographic communication, picture, image, graphic image file, article, recording, writing, or other pornographic matter of any kind", if it is distributed in a way that "a reasonable person can expect a substantial number of minors to be exposed to the material and the minor, as a result to exposure to the material, is likely to suffer personal or emotional injury or injury to mental or moral welfare."  In 1994, Hunter legislatively mandated the construction of 14 miles (23 km) of security fencing on the international land border separating San Diego County and Tijuana, Mexico. In 2005, Hunter introduced legislation calling for the construction of a reinforced fence along the entire U.S.-Mexico border, citing crime statistics as measures of San Diego-Tijuana fence's success. After successfully adding an amendment to a House-passed bill that ultimately stalled in House-Senate negotiations, Hunter's amendment was later incorporated into H.R. 6061, the Secure Fence Act, introduced by New York Congressman Peter T. King. He has said that if he becomes President, the 754-mile (1,213 km) double layer border fence will be built in less than 12 months.  Hunter repeatedly voted against international trade agreements such as the North American Free Trade Agreement (NAFTA), the Central America Free Trade Agreement (CAFTA) and the World Trade Organization (WTO). CANNOTANSWER

Question: What is H.R. 6375?
Answer: required the defense department to post the purpose of all congressional earmarks in annual defense bills, along with the location and a grade according to the utility of the earmark.