gaussalgo/Canard_Wiki-augmented huggingface dataset:
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: How did the music from Future Sound of London sound?
Answer: heavily influenced by 1960s and 1970s psychedelia
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: Did the album The Isness get rave reviews?
Answer: The album received mixed press due to the drastic change in sound
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: What was different about The Isness sound?
Answer: heavily influenced by 1960s and 1970s psychedelia
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: Did The Isness release any more music?
Answer: Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland.
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: How did The Isness album sound?
Answer: the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes.
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: Did people like The Isness album?
Answer: The album was ignored by the press, but was received more favourably among fans than its predecessor.
The Future Sound of London

Context: After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before.  Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards.  ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it... CANNOTANSWER

Question: Is there anything else interesting besides the The Isness?
Answer: Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup
Scooter Libby

Context: On March 6, 2007, the jury convicted him on four of the five counts but acquitted him on count three, the second charge of making false statements when interviewed by federal agents about his conversations with Time reporter Matthew Cooper.  After being questioned by the FBI in the fall of 2003 and testifying before a Federal grand jury on March 5, 2004, and again on March 24, 2004, Libby pleaded not guilty to all five counts. According to the Associated Press, David Addington, Cheney's legal counsel, described a September 2003 meeting with Libby around the time that a criminal investigation began, saying that Libby had told him, "'I just want to tell you, I didn't do it'... I didn't ask what the 'it' was.'"  Libby retained attorney Ted Wells of the firm of Paul, Weiss, Rifkind, Wharton & Garrison to represent him. Wells had successfully defended former Secretary of Agriculture Mike Espy against a 30-count indictment and had also participated in the successful defense of former Secretary of Labor Raymond Donovan.  After Judge Reggie Walton denied Libby's motion to dismiss, the press initially reported that Libby would testify at the trial. Libby's criminal trial, United States v. Libby, began on January 16, 2007. A parade of Pulitzer Prize-winning journalists testified, including Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger of The New York Times. Despite earlier press reports and widespread speculation, neither Libby nor Vice President Cheney testified. The jury began deliberations on February 21, 2007. CANNOTANSWER

Question: What was Libby on trial for?
Answer: CANNOTANSWER
Scooter Libby

Context: On March 6, 2007, the jury convicted him on four of the five counts but acquitted him on count three, the second charge of making false statements when interviewed by federal agents about his conversations with Time reporter Matthew Cooper.  After being questioned by the FBI in the fall of 2003 and testifying before a Federal grand jury on March 5, 2004, and again on March 24, 2004, Libby pleaded not guilty to all five counts. According to the Associated Press, David Addington, Cheney's legal counsel, described a September 2003 meeting with Libby around the time that a criminal investigation began, saying that Libby had told him, "'I just want to tell you, I didn't do it'... I didn't ask what the 'it' was.'"  Libby retained attorney Ted Wells of the firm of Paul, Weiss, Rifkind, Wharton & Garrison to represent him. Wells had successfully defended former Secretary of Agriculture Mike Espy against a 30-count indictment and had also participated in the successful defense of former Secretary of Labor Raymond Donovan.  After Judge Reggie Walton denied Libby's motion to dismiss, the press initially reported that Libby would testify at the trial. Libby's criminal trial, United States v. Libby, began on January 16, 2007. A parade of Pulitzer Prize-winning journalists testified, including Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger of The New York Times. Despite earlier press reports and widespread speculation, neither Libby nor Vice President Cheney testified. The jury began deliberations on February 21, 2007. CANNOTANSWER

Question: When was the trial?
Answer: United States v. Libby, began on January 16, 2007.
Scooter Libby

Context: On March 6, 2007, the jury convicted him on four of the five counts but acquitted him on count three, the second charge of making false statements when interviewed by federal agents about his conversations with Time reporter Matthew Cooper.  After being questioned by the FBI in the fall of 2003 and testifying before a Federal grand jury on March 5, 2004, and again on March 24, 2004, Libby pleaded not guilty to all five counts. According to the Associated Press, David Addington, Cheney's legal counsel, described a September 2003 meeting with Libby around the time that a criminal investigation began, saying that Libby had told him, "'I just want to tell you, I didn't do it'... I didn't ask what the 'it' was.'"  Libby retained attorney Ted Wells of the firm of Paul, Weiss, Rifkind, Wharton & Garrison to represent him. Wells had successfully defended former Secretary of Agriculture Mike Espy against a 30-count indictment and had also participated in the successful defense of former Secretary of Labor Raymond Donovan.  After Judge Reggie Walton denied Libby's motion to dismiss, the press initially reported that Libby would testify at the trial. Libby's criminal trial, United States v. Libby, began on January 16, 2007. A parade of Pulitzer Prize-winning journalists testified, including Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger of The New York Times. Despite earlier press reports and widespread speculation, neither Libby nor Vice President Cheney testified. The jury began deliberations on February 21, 2007. CANNOTANSWER

Question: Who was called in to testify?
Answer: Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger
Scooter Libby

Context: On March 6, 2007, the jury convicted him on four of the five counts but acquitted him on count three, the second charge of making false statements when interviewed by federal agents about his conversations with Time reporter Matthew Cooper.  After being questioned by the FBI in the fall of 2003 and testifying before a Federal grand jury on March 5, 2004, and again on March 24, 2004, Libby pleaded not guilty to all five counts. According to the Associated Press, David Addington, Cheney's legal counsel, described a September 2003 meeting with Libby around the time that a criminal investigation began, saying that Libby had told him, "'I just want to tell you, I didn't do it'... I didn't ask what the 'it' was.'"  Libby retained attorney Ted Wells of the firm of Paul, Weiss, Rifkind, Wharton & Garrison to represent him. Wells had successfully defended former Secretary of Agriculture Mike Espy against a 30-count indictment and had also participated in the successful defense of former Secretary of Labor Raymond Donovan.  After Judge Reggie Walton denied Libby's motion to dismiss, the press initially reported that Libby would testify at the trial. Libby's criminal trial, United States v. Libby, began on January 16, 2007. A parade of Pulitzer Prize-winning journalists testified, including Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger of The New York Times. Despite earlier press reports and widespread speculation, neither Libby nor Vice President Cheney testified. The jury began deliberations on February 21, 2007. CANNOTANSWER

Question: What did Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger say?
Answer: CANNOTANSWER
Scooter Libby

Context: On March 6, 2007, the jury convicted him on four of the five counts but acquitted him on count three, the second charge of making false statements when interviewed by federal agents about his conversations with Time reporter Matthew Cooper.  After being questioned by the FBI in the fall of 2003 and testifying before a Federal grand jury on March 5, 2004, and again on March 24, 2004, Libby pleaded not guilty to all five counts. According to the Associated Press, David Addington, Cheney's legal counsel, described a September 2003 meeting with Libby around the time that a criminal investigation began, saying that Libby had told him, "'I just want to tell you, I didn't do it'... I didn't ask what the 'it' was.'"  Libby retained attorney Ted Wells of the firm of Paul, Weiss, Rifkind, Wharton & Garrison to represent him. Wells had successfully defended former Secretary of Agriculture Mike Espy against a 30-count indictment and had also participated in the successful defense of former Secretary of Labor Raymond Donovan.  After Judge Reggie Walton denied Libby's motion to dismiss, the press initially reported that Libby would testify at the trial. Libby's criminal trial, United States v. Libby, began on January 16, 2007. A parade of Pulitzer Prize-winning journalists testified, including Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger of The New York Times. Despite earlier press reports and widespread speculation, neither Libby nor Vice President Cheney testified. The jury began deliberations on February 21, 2007. CANNOTANSWER

Question: Did anyone else besides Bob Woodward, Walter Pincus and Glenn Kessler of The Washington Post and Judith Miller and David E. Sanger testify?
Answer: CANNOTANSWER
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: What were Augusta Jane Evans early years like?
Answer: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia,
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: Did Augusta Jane Evans stay in Columbus for her entire childhood?
Answer: scarcely ten when they moved to San Antonio, Texas, in 1845.
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: Was Augusta Jane Evans poor growing up?
Answer: Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s.
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: Did things ever improve for Augusta Jane Evans family?
Answer: CANNOTANSWER
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: Did Augusta Jane Evans have any brothers or sisters?
Answer: family of ten
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: Was Augusta Jane Evans childhood overall happy?
Answer: she became a voracious reader at an early age.
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: When did Augusta Jane Evans begin writing?
Answer: In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo,
Augusta Jane Evans

Context: She was born Augusta Jane Evans on May 8, 1835, in Columbus, Georgia, the eldest child of the family. The area of her birth was then known as Wynnton (now MidTown). Her mother was Sarah S. Howard and her father was Matthew R. Evans. She was a descendant on her mother's side from the Howards, one of the most cultured families of Georgia. As a young girl in 19th-century America, she received little in the way of a formal education. However, she became a voracious reader at an early age.  Her father suffered bankruptcy and lost the family's Sherwood Hall property in the 1840s. He moved his family of ten from Georgia for Alabama, and scarcely ten when they moved to San Antonio, Texas, in 1845. When the Mexican-American War had ended, and everything was in a disorganized condition, consequently there were no schools of any prominence. Had her mother not been cultivated and literary, Evans could never have obtained the education which fitted her for the work she later accomplished. During the Mexican war, San Antonio was the rendezvous for the United States troops sent to assist General Zachary Taylor, and the brilliant uniforms of the soldiery, the martial music, and the exciting events that accompany war, combined with the picturesque, enchanting scenery around San Antonio, furnished an excellent theme for Evans' first novel. In 1850, at the age of fifteen, she wrote Inez: A Tale of the Alamo, a sentimental, moralistic, anti-Catholic love story. It told the story of one orphan's spiritual journey from religious skepticism to devout faith. She presented the manuscript to her father as a Christmas gift in 1854. It was published anonymously in 1855.  However, life in a frontier border town like San Antonio proved dangerous, especially with the Mexican-American War. By 1849, Evans' parents moved the family to Mobile, Alabama. She wrote her next novel, Beulah, at age 18; it was published in 1859. Beulah began the theme of female education in her novels. It sold well, selling over 22,000 copies during its first year of publication, a staggering accomplishment. It established her as Alabama's first professional author. Her family used the proceeds from her literary success to purchase Georgia Cottage on Springhill Avenue. CANNOTANSWER

Question: Was Augusta Jane Evans writing a success?
Answer: It was published anonymously in 1855.
Bee Gees

Context: At Eric Clapton's suggestion, the brothers moved to Miami, Florida, early in 1975 to record. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood, and crafted more dance-oriented disco songs, including their second US No. 1, "Jive Talkin'", along with US No. 7 "Nights on Broadway". The band liked the resulting new sound. This time the public agreed by sending the LP Main Course up the charts. This album included the first Bee Gees songs wherein Barry used falsetto, something that would later become a trademark of the band. This was also the first Bee Gees album to have two US top-10 singles since 1968's Idea. Main Course also became their first charting R&B album.  On the Bee Gees' appearance on The Midnight Special in 1975, to promote Main Course, they sang "To Love Somebody" with Helen Reddy. Around the same time, the Bee Gees recorded three Beatles covers--"Golden Slumbers/Carry That Weight", "She Came in Through the Bathroom Window" with Barry providing lead vocals, and "Sun King" with Maurice providing lead vocals, for the unsuccessful musical/documentary All This and World War II.  The next album, Children of the World released in September 1976, was drenched in Barry's new-found falsetto and Weaver's synthesizer disco licks. Mardin was unavailable to produce, so the Bee Gees enlisted Albhy Galuten and Karl Richardson, who had worked with Mardin during the Main Course sessions. This production team would carry the Bee Gees through the rest of the 1970s.  The first single from the album was "You Should Be Dancing" (which features percussion work by musician Stephen Stills). The song pushed the Bee Gees to a level of stardom they had not previously achieved in the US, though their new R&B/disco sound was not as popular with some die hard fans. The pop ballad "Love So Right" reached No. 3 in the US, and "Boogie Child" reached US No. 12 in January 1977. The album peaked at No. 8 in the US.  A compilation Bee Gees Gold was released in November, containing the group's hits from 1967 to 1972. CANNOTANSWER

Question: What happened during Bee Gees' Main Course and Children of the World?
Answer: At Eric Clapton's suggestion, the brothers moved to Miami, Florida, early in 1975 to record.