gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jack Abramoff

Context: At the CRNC, Abramoff developed political alliances with College Republican chapter presidents across the nation. Many would later hold key roles in state and national politics and business, and some would later interact with Abramoff in his role as a lobbyist. Some of those relationships were at the core of the federal investigation.  At the CRNC, Abramoff, Norquist and Reed formed what was known as the "Abramoff-Norquist-Reed triumvirate". After Abramoff's election, the trio purged "dissidents" and re-wrote the CRNC's bylaws to consolidate their control over the organization. According to Easton's Gang of Five, Reed was the "hatchet man" and "carried out Abramoff-Norquist orders with ruthless efficiency, not bothering to hide his fingerprints".  In 1983, the CRNC passed a resolution condemning "deliberate planted propaganda by the KGB and Soviet proxy forces" against the government of South Africa, at a time when the country's government was under worldwide criticism for its apartheid regime.  In 1984, Abramoff and other College Republicans formed the "USA Foundation", a non-partisan tax-exempt organization which held two days of rallies on college campuses around the United States celebrating the first anniversary of the invasion of Grenada. In a letter to campus Republican leaders, Abramoff claimed:  While the Student Liberation Day Coalition is nonpartisan and intended only for educational purposes, I don't need to tell you how important this project is to our efforts as [College Republicans]. I am confident that an impartial study of the contrasts between the Carter/Mondale failure in Iran and the Reagan victory in Grenada will be most enlightening to voters 12 days before the general election. CANNOTANSWER

Question: What happened after CRNC with Jack Abramoff?
Answer: CANNOTANSWER
Super Furry Animals

Context: In 1999, NME readers named them 'best new band' in January (this despite the fact it was now three years since they released their debut album). In May, the single "Northern Lites" was released and made No. 11 in the charts. A dense production, with steel drums clattering out a calypso rhythm whilst Rhys sang an irreverent lyric about the El Nino-Southern Oscillation weather phenomenon, it was an apt taster for the new album, Guerrilla. Recorded at the Real World Studios, the album retained SFA's pop melodies but took a less guitar-centric approach to their execution and was their most experimental work to date. Layers of samples over brass, percussion and Gruff's melodic singing produced an album which took the freewheeling approach of 1960s groups such as The Beatles, The Beach Boys and The Velvet Underground and updated it to the late 1990s. The album swung from glam and garage rock numbers ("Night Vision", "The Teacher") to novelty techno ("Wherever I Lay My Phone (That's My Home)"), ambient indietronica ("Some Things Come From Nothing") and upbeat drum and bass ("The Door To This House Remains Open"). For the cover art, Pete Fowler created the band's first three-dimensional models, rather than the paintings he had supplied for the Radiator album and singles.  After playing several of the summer festivals, SFA released "Fire in My Heart", the most soulful track from Guerrilla, in August and saw it chart at No. 25. They then embarked on a US and UK tour. SFA finished their UK tour at the Cardiff International Arena in Cardiff, where they showcased the first ever concert in surround sound and broadcast it on the World Wide Web.  January 2000 involved a series of changes for SFA. The last single from Guerrilla, "Do or Die", was released and made No. 20. It was also the last single SFA released on Creation Records, as founder Alan McGee set off to pursue other interests. It had always been SFA's plan to release their next album on their own label, Placid Casual, as it would be a deliberate sidestep from their recent work: a largely acoustic album of Welsh language songs entitled Mwng. Meaning "mane", its lilting melodies established that SFA's songwriting did not have to fall back on head-spinning production tricks. A limited edition (of 3000) 7 inch record, "Ysbeidiau Heulog" (meaning "Sunny Intervals") preceded Mwng in May 2000. It came backed with "Charge", a hard-rock jam recorded as a Peel Session for the BBC. The album, released the same month, sold remarkably well for a non-English LP - it made No. 11 in the charts - and received a rare distinction for a pop record, being commended in Parliament for its efforts in keeping the Welsh language alive.  2000 also saw the Furries contribute two tracks, Free Now and Peter Blake 2000, for the Liverpool Sound Collage project, which was nominated for a Grammy. They undertook this remixing of unreleased Beatles recordings at the invitation of Paul McCartney, whom they had met at the NME Awards, where they had won Best Live Act. CANNOTANSWER

Question: What is Guerrilla by Super Furry Animals?
Answer: the new album, Guerrilla.
Super Furry Animals

Context: In 1999, NME readers named them 'best new band' in January (this despite the fact it was now three years since they released their debut album). In May, the single "Northern Lites" was released and made No. 11 in the charts. A dense production, with steel drums clattering out a calypso rhythm whilst Rhys sang an irreverent lyric about the El Nino-Southern Oscillation weather phenomenon, it was an apt taster for the new album, Guerrilla. Recorded at the Real World Studios, the album retained SFA's pop melodies but took a less guitar-centric approach to their execution and was their most experimental work to date. Layers of samples over brass, percussion and Gruff's melodic singing produced an album which took the freewheeling approach of 1960s groups such as The Beatles, The Beach Boys and The Velvet Underground and updated it to the late 1990s. The album swung from glam and garage rock numbers ("Night Vision", "The Teacher") to novelty techno ("Wherever I Lay My Phone (That's My Home)"), ambient indietronica ("Some Things Come From Nothing") and upbeat drum and bass ("The Door To This House Remains Open"). For the cover art, Pete Fowler created the band's first three-dimensional models, rather than the paintings he had supplied for the Radiator album and singles.  After playing several of the summer festivals, SFA released "Fire in My Heart", the most soulful track from Guerrilla, in August and saw it chart at No. 25. They then embarked on a US and UK tour. SFA finished their UK tour at the Cardiff International Arena in Cardiff, where they showcased the first ever concert in surround sound and broadcast it on the World Wide Web.  January 2000 involved a series of changes for SFA. The last single from Guerrilla, "Do or Die", was released and made No. 20. It was also the last single SFA released on Creation Records, as founder Alan McGee set off to pursue other interests. It had always been SFA's plan to release their next album on their own label, Placid Casual, as it would be a deliberate sidestep from their recent work: a largely acoustic album of Welsh language songs entitled Mwng. Meaning "mane", its lilting melodies established that SFA's songwriting did not have to fall back on head-spinning production tricks. A limited edition (of 3000) 7 inch record, "Ysbeidiau Heulog" (meaning "Sunny Intervals") preceded Mwng in May 2000. It came backed with "Charge", a hard-rock jam recorded as a Peel Session for the BBC. The album, released the same month, sold remarkably well for a non-English LP - it made No. 11 in the charts - and received a rare distinction for a pop record, being commended in Parliament for its efforts in keeping the Welsh language alive.  2000 also saw the Furries contribute two tracks, Free Now and Peter Blake 2000, for the Liverpool Sound Collage project, which was nominated for a Grammy. They undertook this remixing of unreleased Beatles recordings at the invitation of Paul McCartney, whom they had met at the NME Awards, where they had won Best Live Act. CANNOTANSWER

Question: When was Guerilla by Super Furry Animals released?
Answer: 1960s
Super Furry Animals

Context: In 1999, NME readers named them 'best new band' in January (this despite the fact it was now three years since they released their debut album). In May, the single "Northern Lites" was released and made No. 11 in the charts. A dense production, with steel drums clattering out a calypso rhythm whilst Rhys sang an irreverent lyric about the El Nino-Southern Oscillation weather phenomenon, it was an apt taster for the new album, Guerrilla. Recorded at the Real World Studios, the album retained SFA's pop melodies but took a less guitar-centric approach to their execution and was their most experimental work to date. Layers of samples over brass, percussion and Gruff's melodic singing produced an album which took the freewheeling approach of 1960s groups such as The Beatles, The Beach Boys and The Velvet Underground and updated it to the late 1990s. The album swung from glam and garage rock numbers ("Night Vision", "The Teacher") to novelty techno ("Wherever I Lay My Phone (That's My Home)"), ambient indietronica ("Some Things Come From Nothing") and upbeat drum and bass ("The Door To This House Remains Open"). For the cover art, Pete Fowler created the band's first three-dimensional models, rather than the paintings he had supplied for the Radiator album and singles.  After playing several of the summer festivals, SFA released "Fire in My Heart", the most soulful track from Guerrilla, in August and saw it chart at No. 25. They then embarked on a US and UK tour. SFA finished their UK tour at the Cardiff International Arena in Cardiff, where they showcased the first ever concert in surround sound and broadcast it on the World Wide Web.  January 2000 involved a series of changes for SFA. The last single from Guerrilla, "Do or Die", was released and made No. 20. It was also the last single SFA released on Creation Records, as founder Alan McGee set off to pursue other interests. It had always been SFA's plan to release their next album on their own label, Placid Casual, as it would be a deliberate sidestep from their recent work: a largely acoustic album of Welsh language songs entitled Mwng. Meaning "mane", its lilting melodies established that SFA's songwriting did not have to fall back on head-spinning production tricks. A limited edition (of 3000) 7 inch record, "Ysbeidiau Heulog" (meaning "Sunny Intervals") preceded Mwng in May 2000. It came backed with "Charge", a hard-rock jam recorded as a Peel Session for the BBC. The album, released the same month, sold remarkably well for a non-English LP - it made No. 11 in the charts - and received a rare distinction for a pop record, being commended in Parliament for its efforts in keeping the Welsh language alive.  2000 also saw the Furries contribute two tracks, Free Now and Peter Blake 2000, for the Liverpool Sound Collage project, which was nominated for a Grammy. They undertook this remixing of unreleased Beatles recordings at the invitation of Paul McCartney, whom they had met at the NME Awards, where they had won Best Live Act. CANNOTANSWER

Question: What is Mwng by Super Furry Animals?
Answer: Welsh language songs entitled Mwng.
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: What is Rugby Sevens with Simon Poidevin?
Answer: CANNOTANSWER
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: What is something interesting during Rugby Sevens?
Answer: The final was the first time that Poidevin would oppose Wayne "Buck" Shelford,
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: Did Simon Poidevin and Wayne Shelford have a rivalry?
Answer: a fierce rivalry between the two men.
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: Besides playing against Wayne Shelford, what other matches did Simon Poidevin play in during Rugby Sevens?
Answer: Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: Which team beat Australia in the Hong Kong Sevens?
Answer: the French Barbarians.
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: Did Simon Poidevin win any awards during the Hong Kong Sevens?
Answer: CANNOTANSWER
Simon Poidevin

Context: In March, Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final. The final was the first time that Poidevin would oppose Wayne "Buck" Shelford, in what would be the beginning of a fierce rivalry between the two men. In For Love Not Money Poidevin remembered that:  It was a tremendously physical game and was marred by Glen Ella being elbowed in the head by Wayne Shelford. It was the first time I'd come up against this character and to say I didn't like his approach was putting it mildly. I was sickened by what he did to my Randwick clubmate and simply couldn't contain myself. Within a minute of his clobbering Glen I got into a stouch with him and we finished up rolling around on the ground in front of the packed main grandstand, not only in front of Premier Neville Wran but in front of a far more important person - my mother. While we were grappling I thought to myself 'we really shouldn't be doing this', but my blood was boiling after the Ella incident.  Poidevin then participated in the Hong Kong Sevens where Australia were knocked-out in the semi-final by the French Barbarians. He would later reflect that 'I thought my own play was diabolical. They scored a couple of easy tries early on through what I felt was my lax defence.' He further added that, 'I was pretty chopped up after that loss, particularly as I'd been very keen to make the final so that I could have another crack at the New Zealanders.' CANNOTANSWER

Question: Besides the Rugby Sevens, what else can you tell me about the time around Rugby Sevens in Simon Poidevin's career?
Answer: Poidevin played in the World Sevens at Concord Oval. Australia was defeated by New Zealand 32-0 in the final.
James Levine

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

Question: When did James Levine perform at the Metropolitan Opera?
Answer: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971,
James Levine

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

Question: What did James Levine perform?
Answer: conductor
James Levine

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

Question: Besides being a conductor,Are there any other interesting aspects about this article?
Answer: allegations that Levine had sexually abused four young men, the Met suspended its relationship with him
James Levine

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

Question: Were charges ever brought to allegations James Levine sexually abused four young men?
Answer: CANNOTANSWER
James Levine

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

Question: What was James Levine's role at the Metropolitan Opera?
Answer: he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975.
James Levine

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

Question: Besides performing at the Metropolitan Opera,What were some of James Levine's other performances?
Answer: Levine led the Metropolitan Opera on many domestic and international tours.
James Levine

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

Question: Where did the Metropolitan Opera  tour?
Answer: CANNOTANSWER
James Levine

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

Question: Were James Levine's performances successful?
Answer: Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.
Nas

Context: Columbia Records began to press Nas to work towards more commercial topics, such as that of The Notorious B.I.G., who had become successful by releasing street singles that still retained radio-friendly appeal. In 1995, Nas did guest performances on the albums Doe or Die by AZ, The Infamous by The Infamous Mobb Deep, Only Built 4 Cuban Linx by Raekwon and 4,5,6 by Kool G Rap. Nas also parted ways with manager MC Serch, enlisted Steve Stoute, and began preparation for his second LP, It Was Written, consciously working towards a crossover-oriented sound. It Was Written, chiefly produced by Tone and Poke of Trackmasters, was released in mid-1996. Two singles, "If I Ruled the World (Imagine That)" (featuring Lauryn Hill of The Fugees) and "Street Dreams", including a remix with R. Kelly were instant hits. These songs were promoted by big-budget music videos directed by Hype Williams, making Nas a common name among mainstream hip-hop. It Was Written featured the debut of The Firm, a supergroup consisting of Nas, AZ, Foxy Brown, and Cormega. The album also expanded on Nas's Escobar persona, who lived a Scarface/Casino-esque lifestyle. On the other hand, references to Scarface protagonist Tony Montana notwithstanding, Illmatic was more about his early life growing up in the projects.  Signed to Dr. Dre's Aftermath Entertainment label, The Firm began working on their debut album. Halfway through the production of the album, Cormega was fired from the group by Steve Stoute, who had unsuccessfully attempted to force Cormega to sign a deal with his management company. Cormega subsequently became one of Nas's most vocal opponents and released a number of underground hip hop singles "dissing" Nas, Stoute, and Nature, who replaced Cormega as the fourth member of The Firm. Nas, Foxy Brown, AZ, and Nature Present The Firm: The Album was finally released in 1997 to mixed reviews. The album failed to live up to its expected sales, despite being certified platinum, and the members of the group disbanded to go their separate ways.  During this period, Nas was one of four rappers (the others being B-Real, KRS-One and RBX) in the hip-hop supergroup Group Therapy, who appeared on the song "East Coast/West Coast Killas" from Dr. Dre Presents the Aftermath. CANNOTANSWER

Question: Where was the mainstream direction going?
Answer: CANNOTANSWER