gaussalgo/Canard_Wiki-augmented huggingface dataset:
Lee Ann Womack

Context: She released her third studio album in 2000 entitled, I Hope You Dance, which was met with major success. The title track (which was released as the lead single), reached No. 1 on the Billboard Country chart for five weeks and crossed over to the Billboard Hot 100, becoming a major crossover Pop hit, reaching No. 14. It also peaked at the top spot on the adult contemporary chart and even reached the UK Singles Charts, peaking at No. 40. Both of Womack's daughters appeared in the song's video that year. Towards the end of 2000, "I Hope You Dance" won the Country Music Association's "Song of the Year" and "Single of the Year" awards. With the Pop success of "I Hope You Dance," Womack drew the attention of the magazines People and Time, both of which praised the single, calling it "one of her best." The song later won awards in 2001 from the Grammy and Academy of Country music awards. The album of the same name has sold 3 million copies in the United States to date. The album's follow-up single, a cover of Rodney Crowell's "Ashes by Now" peaked at No. 4 on the Billboard Country Chart. The third single, "Why They Call it Falling" was also successful, reaching the country Top 15.  On December 11, 2000, Womack performed "I Hope You Dance" at the annual Nobel Peace Prize concert. This song was also featured in the 2008 Tyler Perry film entitled "The Family that Preys."  In 2002, Womack's fourth studio album, Something Worth Leaving Behind was released. The album made a stronger attempt at a pop-flavored style, however it did not react well, leading to poor record sales and only one major hit. Following its release, Womack's career stalled. Later that year, she released a Christmas album, The Season for Romance and also collaborated with Willie Nelson on his single, "Mendocino County Line," which won a Grammy and Country Music award in 2002. In early 2003, she got a small recurring role on the popular CBS drama, The District.  In 2004, Womack performed "I Hope You Dance" at the Republican National Convention, in which George W. Bush was nominated for his second term as President of the United States. The other performers that night included Sara Evans and Larry Gatlin. She also collaborated with Red Dirt Music band Cross Canadian Ragweed on their hit "Sick and Tired" in 2004. Also that year, she also released her first Greatest Hits album, which included two new songs; "The Wrong Girl" (the only song from the album released as a single) and "Time for Me to Go." CANNOTANSWER

Question: was Lee Ann Womack married?
Answer: CANNOTANSWER
Lee Ann Womack

Context: She released her third studio album in 2000 entitled, I Hope You Dance, which was met with major success. The title track (which was released as the lead single), reached No. 1 on the Billboard Country chart for five weeks and crossed over to the Billboard Hot 100, becoming a major crossover Pop hit, reaching No. 14. It also peaked at the top spot on the adult contemporary chart and even reached the UK Singles Charts, peaking at No. 40. Both of Womack's daughters appeared in the song's video that year. Towards the end of 2000, "I Hope You Dance" won the Country Music Association's "Song of the Year" and "Single of the Year" awards. With the Pop success of "I Hope You Dance," Womack drew the attention of the magazines People and Time, both of which praised the single, calling it "one of her best." The song later won awards in 2001 from the Grammy and Academy of Country music awards. The album of the same name has sold 3 million copies in the United States to date. The album's follow-up single, a cover of Rodney Crowell's "Ashes by Now" peaked at No. 4 on the Billboard Country Chart. The third single, "Why They Call it Falling" was also successful, reaching the country Top 15.  On December 11, 2000, Womack performed "I Hope You Dance" at the annual Nobel Peace Prize concert. This song was also featured in the 2008 Tyler Perry film entitled "The Family that Preys."  In 2002, Womack's fourth studio album, Something Worth Leaving Behind was released. The album made a stronger attempt at a pop-flavored style, however it did not react well, leading to poor record sales and only one major hit. Following its release, Womack's career stalled. Later that year, she released a Christmas album, The Season for Romance and also collaborated with Willie Nelson on his single, "Mendocino County Line," which won a Grammy and Country Music award in 2002. In early 2003, she got a small recurring role on the popular CBS drama, The District.  In 2004, Womack performed "I Hope You Dance" at the Republican National Convention, in which George W. Bush was nominated for his second term as President of the United States. The other performers that night included Sara Evans and Larry Gatlin. She also collaborated with Red Dirt Music band Cross Canadian Ragweed on their hit "Sick and Tired" in 2004. Also that year, she also released her first Greatest Hits album, which included two new songs; "The Wrong Girl" (the only song from the album released as a single) and "Time for Me to Go." CANNOTANSWER

Question: did Lee Ann Womack have children?
Answer: CANNOTANSWER
The Future Sound of London

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

Question: What is an example of the new sound that was created from new millennium?
Answer: The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism,
The Future Sound of London

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

Question: What is an album that the pair returned with "The Isness"?
Answer: . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous.
The Future Sound of London

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

Question: How did "The Isness" do on the charts in London?
Answer: CANNOTANSWER
The Future Sound of London

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

Question: What singles were released from "The Isness" album from the future sound of London?
Answer: CANNOTANSWER
The Future Sound of London

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

Question: What other album did new millennium release besides "The Isness"?
Answer: Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland.
The Future Sound of London

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

Question: What musical style was new millennium album in?
Answer: took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes.
The Future Sound of London

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

Question: Did new millennium collaborate with any other artists other than new sound album?
Answer: CANNOTANSWER
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: Where was "That Was the Week That Was" released?
Answer: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC.
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: How many episodes were there in "This Hour Has Seven Days"?
Answer: CANNOTANSWER
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: What kind of show was "This Hour Has Seven Days"?
Answer: the Canadian show mixed satirical aspects with more serious journalism.
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: Did "This Hour Has Seven Days" air anywhere else besides CBC?
Answer: An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network.
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: Was "The Mavis Bramston Show" popular internationally?
Answer: The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: Did "A Week Of It" air anywhere else besides New Zealand?
Answer: An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network.
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: What is particularly interesting in the article besides "That Was the Week That Was" getting released internationally?
Answer: The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.
That Was the Week That Was

Context: A Canadian show, This Hour Has Seven Days, aired from 1964 to 1966 on CBC. Although partially inspired by That Was The Week That Was, the Canadian show mixed satirical aspects with more serious journalism. It proved controversial and was cancelled after two series amid allegations of political interference. This Hour Has 22 Minutes, created by Newfoundland comic Mary Walsh, has been running since 1992 although the two are not related.  An Australian show, The Mavis Bramston Show, aired from 1964 to 1968 on the Seven Network. It grew out of the recent local theatrical tradition of topical satirical revue--most notably the popular revues staged at Sydney's Phillip Street Theatre in the 1950s and 1960s--but it was also strongly influenced by the British satire boom and especially TW3 and Not Only... But Also.  The New Zealand show A Week Of It ran from 1977 to 1979, hosted by Ken Ellis, and featuring comedians David McPhail, Peter Rowley and Chris McVeigh and comedian/musicians Jon Gadsby and Annie Whittle. The series lampooned news and politics and featured songs, usually by McPhail and Gadsby, who continued with their own show, McPhail and Gadsby in similar vein.  A Dutch version, Zo is het toevallig ook nog 's een keer, aired from November 1963 to 1966. It became controversial after the fourth edition, which included a parody of the Lord's Prayer ("Give us this day our daily television"). Angry viewers directed their protests especially against the most popular cast member: Mies Bouwman. After receiving several threats to her life she decided to quit the show. The show was praised as well: in 1966 it received the Gouden Televizier-ring, a prestigious audience award--though it turned out afterward that the election was rigged.  An Indian version titled The Week That Wasn't was launched and hosted by Cyrus Broacha. CANNOTANSWER

Question: Was there ever any controversy with "That Was the Week That Was"?
Answer: CANNOTANSWER
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: What was the name of the band The Sweet's first album?
Answer: Funny How Sweet Co-Co Can Be,
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Who produced The Sweet's first album, Funny How Sweet Co-Co Can Be?
Answer: Phil Wainman
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: What year was The Sweet's first album, Funny How Sweet Co-Co Can Be, released?
Answer: November 1971.
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Was there a popular single on The Sweet's album, Funny How Sweet Co-Co Can Be?
Answer: Funny Funny
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Where was The Sweet's album, Funny How Sweet Co-Co Can Be, recorded?
Answer: Nova Studios in London,