gaussalgo/Canard_Wiki-augmented huggingface dataset:
Michael Anthony (musician)

Context: While Anthony was a promising catcher in baseball, he also competed on the Dana Junior High School track team (long jump) and played in the marching band there from 1967-1969. He took an interest in guitar as a teenager, but picked up the bass instead since most of his other friends already played guitar or drums. Anthony's friend Mike Hershey gave him a Fender Mustang electric guitar that Anthony converted by removing the two highest strings and playing it as a bass guitar. Eventually, his father bought him a Victoria copy of a Fender Precision Bass and a Gibson amplifier. Anthony mostly modelled his bass playing after Jack Bruce of Cream, but also admired Led Zeppelin's John Paul Jones and Harvey Brooks of Electric Flag. His first band was called Poverty's Children. Other bands he played in included Black Opal, Balls, and Snake. Although Anthony is naturally left-handed, he plays right-handed.  Snake, a three-piece group featuring Anthony on lead vocals and bass guitar, was the last band in which Anthony played before joining Van Halen. Snake played covers of ZZ Top, Lynyrd Skynyrd, and Foghat, along with some original songs. They played several of the same types of gigs as did the Van Halen brothers' band Mammoth. Snake even once opened for Mammoth at a show at Pasadena High School. Mammoth's PA failed that night, so Anthony lent them Snake's PA.  While attending Pasadena City College, Anthony pursued a degree in music. Eddie Van Halen also took classes there and they would often see each other on campus. During this time, bass player Mark Stone parted ways with Mammoth and the Van Halens decided to audition Anthony as a replacement. Anthony was impressed by their skill during subsequent jam sessions even though he had seen the brothers play before. After the session, the Van Halen brothers asked Anthony to join their band. One story claims that he said he had to think about it and consulted Snake guitarist Tony Caggiano who advised Anthony to join Van Halen. However, according to Michael Anthony's web site, when asked if he wanted to join Mammoth, Anthony immediately said yes. This has become the accepted version of events. CANNOTANSWER

Question: why did Michael Anthony decide to leave the band he was with and join Van Halens?
Answer: During this time, bass player Mark Stone parted ways with Mammoth and the Van Halens decided to audition Anthony as a replacement.
Michael Anthony (musician)

Context: While Anthony was a promising catcher in baseball, he also competed on the Dana Junior High School track team (long jump) and played in the marching band there from 1967-1969. He took an interest in guitar as a teenager, but picked up the bass instead since most of his other friends already played guitar or drums. Anthony's friend Mike Hershey gave him a Fender Mustang electric guitar that Anthony converted by removing the two highest strings and playing it as a bass guitar. Eventually, his father bought him a Victoria copy of a Fender Precision Bass and a Gibson amplifier. Anthony mostly modelled his bass playing after Jack Bruce of Cream, but also admired Led Zeppelin's John Paul Jones and Harvey Brooks of Electric Flag. His first band was called Poverty's Children. Other bands he played in included Black Opal, Balls, and Snake. Although Anthony is naturally left-handed, he plays right-handed.  Snake, a three-piece group featuring Anthony on lead vocals and bass guitar, was the last band in which Anthony played before joining Van Halen. Snake played covers of ZZ Top, Lynyrd Skynyrd, and Foghat, along with some original songs. They played several of the same types of gigs as did the Van Halen brothers' band Mammoth. Snake even once opened for Mammoth at a show at Pasadena High School. Mammoth's PA failed that night, so Anthony lent them Snake's PA.  While attending Pasadena City College, Anthony pursued a degree in music. Eddie Van Halen also took classes there and they would often see each other on campus. During this time, bass player Mark Stone parted ways with Mammoth and the Van Halens decided to audition Anthony as a replacement. Anthony was impressed by their skill during subsequent jam sessions even though he had seen the brothers play before. After the session, the Van Halen brothers asked Anthony to join their band. One story claims that he said he had to think about it and consulted Snake guitarist Tony Caggiano who advised Anthony to join Van Halen. However, according to Michael Anthony's web site, when asked if he wanted to join Mammoth, Anthony immediately said yes. This has become the accepted version of events. CANNOTANSWER

Question: Aside from the Van Halens deciding to audition Michael Anthony as a replacement for Mark Stone, is there anything else interesting?
Answer: One story claims that he said he had to think about it and consulted Snake guitarist Tony Caggiano who advised Anthony to join Van Halen.
Michael Anthony (musician)

Context: While Anthony was a promising catcher in baseball, he also competed on the Dana Junior High School track team (long jump) and played in the marching band there from 1967-1969. He took an interest in guitar as a teenager, but picked up the bass instead since most of his other friends already played guitar or drums. Anthony's friend Mike Hershey gave him a Fender Mustang electric guitar that Anthony converted by removing the two highest strings and playing it as a bass guitar. Eventually, his father bought him a Victoria copy of a Fender Precision Bass and a Gibson amplifier. Anthony mostly modelled his bass playing after Jack Bruce of Cream, but also admired Led Zeppelin's John Paul Jones and Harvey Brooks of Electric Flag. His first band was called Poverty's Children. Other bands he played in included Black Opal, Balls, and Snake. Although Anthony is naturally left-handed, he plays right-handed.  Snake, a three-piece group featuring Anthony on lead vocals and bass guitar, was the last band in which Anthony played before joining Van Halen. Snake played covers of ZZ Top, Lynyrd Skynyrd, and Foghat, along with some original songs. They played several of the same types of gigs as did the Van Halen brothers' band Mammoth. Snake even once opened for Mammoth at a show at Pasadena High School. Mammoth's PA failed that night, so Anthony lent them Snake's PA.  While attending Pasadena City College, Anthony pursued a degree in music. Eddie Van Halen also took classes there and they would often see each other on campus. During this time, bass player Mark Stone parted ways with Mammoth and the Van Halens decided to audition Anthony as a replacement. Anthony was impressed by their skill during subsequent jam sessions even though he had seen the brothers play before. After the session, the Van Halen brothers asked Anthony to join their band. One story claims that he said he had to think about it and consulted Snake guitarist Tony Caggiano who advised Anthony to join Van Halen. However, according to Michael Anthony's web site, when asked if he wanted to join Mammoth, Anthony immediately said yes. This has become the accepted version of events. CANNOTANSWER

Question: Besides Michael Anthony needing to think about joining Van Halen, are there other claims?
Answer: However, according to Michael Anthony's web site, when asked if he wanted to join Mammoth, Anthony immediately said yes. This has become the accepted version of events.
Judith Butler

Context: In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society.  Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time".  Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater.  Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms. CANNOTANSWER

Question: What did Judith Butler do in 1988?
Answer: In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble.
Judith Butler

Context: In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society.  Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time".  Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater.  Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms. CANNOTANSWER

Question: What was Judith Butler theory about?
Answer: that both phenomenology and feminism ground their theories in "lived experience".
Judith Butler

Context: In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society.  Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time".  Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater.  Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms. CANNOTANSWER

Question: What did people think of "lived experience" theory?
Answer: CANNOTANSWER
Judith Butler

Context: In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society.  Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time".  Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater.  Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms. CANNOTANSWER

Question: Besides "lived experience", what else did Judith Butler describe in her theory?
Answer: Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts.
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: Where was Mike Piazza born?
Answer: Norristown, Pennsylvania,
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: What were the names of Mike Piazza's parents?
Answer: Vince and Veronica,
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: How many siblings did Mike Piazza have?
Answer: is the second-oldest son
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: What school did Mike Piazza attend?
Answer: Phoenixville Area High School.
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: When did Mike Piazza start playing baseball?
Answer: began encouraging his son to build his arm strength at the age of five.
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: Who trained Mike Piazza in baseball as he was growing up?
Answer: Piazza received personal instruction in his backyard batting cage from Ted Williams.
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: What opinion did Ted Williams have of Mike Piazza?
Answer: The Hall of Famer praised his talent,
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: How did Mike Piazza's dad encourage him?
Answer: Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball,
Mike Piazza

Context: Piazza was born in Norristown, Pennsylvania, grew up in Phoenixville, Pennsylvania, and attended Phoenixville Area High School. He is of Italian and Jewish (Slovak) ancestry, and is the second-oldest son of Vince and Veronica, with brothers Vince Jr., Danny, Tony, and Tommy. Mike grew up a Philadelphia Phillies fan, and admiring Hall of Fame Third baseman Mike Schmidt.  Vince Piazza earned a fortune of more than $100 million in used cars and real estate, and attempted several times to purchase a MLB franchise. When the Dodgers--managed by Vince Piazza's childhood friend Tommy Lasorda, the godfather of Mike Piazza's youngest brother, Tommy--visited Philadelphia, Piazza visited the Dodger clubhouse and served as a bat boy in the dugout.  Vince Piazza's own hopes of playing baseball had ended at the age of 16 when he left school to support his family. He saw that Mike Piazza had potential in the sport, and began encouraging his son to build his arm strength at the age of five. When he was 12, Piazza received personal instruction in his backyard batting cage from Ted Williams. The Hall of Famer praised his talent, advised him not to let anyone change his swing, and autographed Piazza's copy of Williams' The Science of Hitting. Vince Piazza threw hundreds of pitches nightly to his son, who shared his father's focus on baseball, clearing snow if necessary to practice his hitting and, after reaching the major leagues, practicing on Christmas Eve. He attended Phoenixville Area High School and graduated in 1986. CANNOTANSWER

Question: Did Mike Piazza want to join the Dodgers?
Answer: Mike grew up a Philadelphia Phillies fan,
Ian Botham

Context: Botham's third overseas tour was to India in February 1980. It was the fiftieth anniversary of India's entry into Test cricket and so England played a single commemorative Test at the Wankhede Stadium in Bombay. It turned into a personal triumph for Botham who became the first player in Test history to score a century and take ten wickets in the same match. England's wicketkeeper Bob Taylor held ten catches in the match, eight of them off Botham's bowling.  India won the toss and decided to bat first but, with Botham taking six for 58, they were all out on day one for 242. England replied with 296, the highlight being Botham's 114 from just 144 balls; he began his innings with England in trouble at 57 for four. This quickly became 58 for five and Botham was joined by England's other match hero Taylor. England's first five batsmen had contributed just 51 to the total. Botham was often unfairly labelled a "big hitter" but in fact his style was very orthodox (i.e., he "played straight") and in this innings he scored 17 fours but, significantly, no sixes. Taylor provided dogged support and their sixth wicket partnership realised 171 runs. When Botham was out near the end of day two, the score was 229 for six and England reached 232 for six at close of play, still ten runs behind. On the third morning, Taylor led England past India's total and, with useful batting performances by the specialist bowlers, England totalled 296 to gain a first innings lead of 54.  India's second innings was a disaster and they lost eight wickets by the close of play on the third day with only Kapil Dev offering any resistance. They were all out early on the fourth day for 149. Botham was the outstanding performer again, taking seven for 48 which gave him match figures of thirteen for 106. Geoffrey Boycott and Graham Gooch scored the necessary runs for England to win by ten wickets with a day to spare. CANNOTANSWER

Question: What is the Jubilee test?
Answer: It was the fiftieth anniversary of India's entry into Test cricket and so England played a single commemorative Test at the Wankhede Stadium in Bombay.
Ian Botham

Context: Botham's third overseas tour was to India in February 1980. It was the fiftieth anniversary of India's entry into Test cricket and so England played a single commemorative Test at the Wankhede Stadium in Bombay. It turned into a personal triumph for Botham who became the first player in Test history to score a century and take ten wickets in the same match. England's wicketkeeper Bob Taylor held ten catches in the match, eight of them off Botham's bowling.  India won the toss and decided to bat first but, with Botham taking six for 58, they were all out on day one for 242. England replied with 296, the highlight being Botham's 114 from just 144 balls; he began his innings with England in trouble at 57 for four. This quickly became 58 for five and Botham was joined by England's other match hero Taylor. England's first five batsmen had contributed just 51 to the total. Botham was often unfairly labelled a "big hitter" but in fact his style was very orthodox (i.e., he "played straight") and in this innings he scored 17 fours but, significantly, no sixes. Taylor provided dogged support and their sixth wicket partnership realised 171 runs. When Botham was out near the end of day two, the score was 229 for six and England reached 232 for six at close of play, still ten runs behind. On the third morning, Taylor led England past India's total and, with useful batting performances by the specialist bowlers, England totalled 296 to gain a first innings lead of 54.  India's second innings was a disaster and they lost eight wickets by the close of play on the third day with only Kapil Dev offering any resistance. They were all out early on the fourth day for 149. Botham was the outstanding performer again, taking seven for 48 which gave him match figures of thirteen for 106. Geoffrey Boycott and Graham Gooch scored the necessary runs for England to win by ten wickets with a day to spare. CANNOTANSWER

Question: What is significant about the commemorative test at the Wankhede Stadium?
Answer: It turned into a personal triumph for Botham who became the first player in Test history to score a century and take ten wickets in the same match.
Ian Botham

Context: Botham's third overseas tour was to India in February 1980. It was the fiftieth anniversary of India's entry into Test cricket and so England played a single commemorative Test at the Wankhede Stadium in Bombay. It turned into a personal triumph for Botham who became the first player in Test history to score a century and take ten wickets in the same match. England's wicketkeeper Bob Taylor held ten catches in the match, eight of them off Botham's bowling.  India won the toss and decided to bat first but, with Botham taking six for 58, they were all out on day one for 242. England replied with 296, the highlight being Botham's 114 from just 144 balls; he began his innings with England in trouble at 57 for four. This quickly became 58 for five and Botham was joined by England's other match hero Taylor. England's first five batsmen had contributed just 51 to the total. Botham was often unfairly labelled a "big hitter" but in fact his style was very orthodox (i.e., he "played straight") and in this innings he scored 17 fours but, significantly, no sixes. Taylor provided dogged support and their sixth wicket partnership realised 171 runs. When Botham was out near the end of day two, the score was 229 for six and England reached 232 for six at close of play, still ten runs behind. On the third morning, Taylor led England past India's total and, with useful batting performances by the specialist bowlers, England totalled 296 to gain a first innings lead of 54.  India's second innings was a disaster and they lost eight wickets by the close of play on the third day with only Kapil Dev offering any resistance. They were all out early on the fourth day for 149. Botham was the outstanding performer again, taking seven for 48 which gave him match figures of thirteen for 106. Geoffrey Boycott and Graham Gooch scored the necessary runs for England to win by ten wickets with a day to spare. CANNOTANSWER

Question: Besides scoring a century, did Ian Botham have any other notable achievements?
Answer: England replied with 296, the highlight being Botham's 114 from just 144 balls;
Ian Botham

Context: Botham's third overseas tour was to India in February 1980. It was the fiftieth anniversary of India's entry into Test cricket and so England played a single commemorative Test at the Wankhede Stadium in Bombay. It turned into a personal triumph for Botham who became the first player in Test history to score a century and take ten wickets in the same match. England's wicketkeeper Bob Taylor held ten catches in the match, eight of them off Botham's bowling.  India won the toss and decided to bat first but, with Botham taking six for 58, they were all out on day one for 242. England replied with 296, the highlight being Botham's 114 from just 144 balls; he began his innings with England in trouble at 57 for four. This quickly became 58 for five and Botham was joined by England's other match hero Taylor. England's first five batsmen had contributed just 51 to the total. Botham was often unfairly labelled a "big hitter" but in fact his style was very orthodox (i.e., he "played straight") and in this innings he scored 17 fours but, significantly, no sixes. Taylor provided dogged support and their sixth wicket partnership realised 171 runs. When Botham was out near the end of day two, the score was 229 for six and England reached 232 for six at close of play, still ten runs behind. On the third morning, Taylor led England past India's total and, with useful batting performances by the specialist bowlers, England totalled 296 to gain a first innings lead of 54.  India's second innings was a disaster and they lost eight wickets by the close of play on the third day with only Kapil Dev offering any resistance. They were all out early on the fourth day for 149. Botham was the outstanding performer again, taking seven for 48 which gave him match figures of thirteen for 106. Geoffrey Boycott and Graham Gooch scored the necessary runs for England to win by ten wickets with a day to spare. CANNOTANSWER

Question: Besides scoring a century, what else happened at the commemorative test?
Answer: India's second innings was a disaster and they lost eight wickets by the close of play on the third day with only Kapil Dev offering any resistance.
Ian Botham

Context: Botham's third overseas tour was to India in February 1980. It was the fiftieth anniversary of India's entry into Test cricket and so England played a single commemorative Test at the Wankhede Stadium in Bombay. It turned into a personal triumph for Botham who became the first player in Test history to score a century and take ten wickets in the same match. England's wicketkeeper Bob Taylor held ten catches in the match, eight of them off Botham's bowling.  India won the toss and decided to bat first but, with Botham taking six for 58, they were all out on day one for 242. England replied with 296, the highlight being Botham's 114 from just 144 balls; he began his innings with England in trouble at 57 for four. This quickly became 58 for five and Botham was joined by England's other match hero Taylor. England's first five batsmen had contributed just 51 to the total. Botham was often unfairly labelled a "big hitter" but in fact his style was very orthodox (i.e., he "played straight") and in this innings he scored 17 fours but, significantly, no sixes. Taylor provided dogged support and their sixth wicket partnership realised 171 runs. When Botham was out near the end of day two, the score was 229 for six and England reached 232 for six at close of play, still ten runs behind. On the third morning, Taylor led England past India's total and, with useful batting performances by the specialist bowlers, England totalled 296 to gain a first innings lead of 54.  India's second innings was a disaster and they lost eight wickets by the close of play on the third day with only Kapil Dev offering any resistance. They were all out early on the fourth day for 149. Botham was the outstanding performer again, taking seven for 48 which gave him match figures of thirteen for 106. Geoffrey Boycott and Graham Gooch scored the necessary runs for England to win by ten wickets with a day to spare. CANNOTANSWER

Question: Besides India's second inning disaster, what else is notable at the the the commemorative test?
Answer: Botham was the outstanding performer again, taking seven for 48 which gave him match figures of thirteen for 106.
Judith Miller

Context: On October 12, 2001, Miller opened an anthrax hoax letter mailed to her New York Times office. The 2001 anthrax attacks had begun occurring in the wake of the September 11 attacks in 2001, with anthrax-laced letters sent to ABC News, CBS News, NBC News, and the New York Post, all in New York City, as well as the National Enquirer in Boca Raton, Florida. Two additional letters (with a higher grade of anthrax) were sent on October 9, 2001, to Senators Tom Daschle and Patrick Leahy in Washington. Twenty-two people were infected; five died. In 2008, the government's investigation of these mailings focused on Bruce Ivins, who later committed suicide, with the investigation determining that Ivins acted alone.  Miller was the only major U.S. media reporter, and The New York Times the only major U.S. media organization, to be victimized by a fake anthrax letter in the fall of 2001. Miller had reported extensively on the subject of biological threats and had co-authored, with Stephen Engelberg and William Broad, a book on bio-terrorism, Germs: Biological Weapons and America's Secret War which was published on October 2, 2001. Miller co-authored an article on Pentagon plans to develop a more potent version of weaponized anthrax, "U.S. Germ Warfare Research Pushes Treaty Limits", published in The New York Times on September 4, 2001, weeks before the first anthrax mailings.  Miller also participated in a senior-level bio-terror attack simulation on Oklahoma City conducted on June 22 and June 23, 2001, called "Operation Dark Winter"; her role was media reporter/observer. CANNOTANSWER

Question: Who was the anthrax hoax victim?
Answer: Miller opened an anthrax hoax letter mailed to her New York Times office.