gaussalgo/Canard_Wiki-augmented huggingface dataset:
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What was the Mercury Theatre?
Answer: Welles and Houseman founded their own repertory company, which they called the Mercury Theatre.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: How did Orson Welles come up with the name Mercury Theatre?
Answer: name was inspired by the title of the iconoclastic magazine, The American Mercury.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Besides Houseman, who else worked with Orson Welles?
Answer: the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis,
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Besides Joseph Cotten, George Coulouris, Geraldine Fitzgerald, and Arlene Francis, was anyone else part of Orson Welles' crew?
Answer: Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: When did the Mercury Theatre first open?
Answer: 1937,
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What play first performed at the Mercury Theatre?
Answer: The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What was said of the performance of Welle's modern-dress adaptation of Julius Caesar at the Mercury Theatre on November 11, 1937?
Answer: "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Did the Mercury Theatre Company have other shows they did besides Julius Caesar??
Answer: The Shoemaker's Holiday;
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What did the Mercury Theatre Company perform after The Shoemaker's Holiday?
Answer: They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938).
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Was The Shoemaker's Holiday the last performance the Mercury Theatre Company had?
Answer: CANNOTANSWER
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: Could you tell me something interesting about the Christianized Filipinos?
Answer: the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials.
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: who were the Gebrnadorcillos?
Answer: elected leader of the Cabezas de Barangay or the Christianized Datus
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: how did the Gebrnadorcillos benefit from the consideration received from the Spanish Crown officials?
Answer: The colonial officials were under obligation to show them the honor corresponding to their respective duties.
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: how did the show the Gebrnadorcillos honor?
Answer: They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing.
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: what were the duties of the Gobernadorcillos?
Answer: The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns.
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: were the Gebrnadorcillos liked by the people?
Answer: On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration.
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: what kind of a celebration was held on the day the Gebrnadorcillos took on government duties?
Answer: A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs,
Principalía

Context: With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.  The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.  On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.  On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.  The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town. CANNOTANSWER

Question: what else would Gobernadorcillos do when taking on government duties besides occupying a seat at a festive banquet?
Answer: The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music
Titãs

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

Question: When did Titãs, Miklos leave the band?
Answer: to focus on his personal projects.
Titãs

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

Question: When did Titãs, Miklos leave the band ?
Answer: On July 11, 2016,