gaussalgo/Canard_Wiki-augmented huggingface dataset:
Sakis Rouvas

Context: After moving to Patras, Rouvas continued to look for performance opportunities until he met Dakis (a popular Greek artist who was the first person to help him professionally). Rouvas moved to Athens, and made his first professional appearance in 1991 at the Show Centre. His showmanship attracted the attention of music executives such as Nikos Mouratidis, who encouraged songwriter Giorgos Pavrianos to produce him. Rouvas, singing Michael Jackson's "Man in the Mirror" was discovered by PolyGram executives who signed him to his first recording contract. After moving to Athens he lived with an older English woman named Sally, with whom he had begun a relationship on Corfu. Their relationship ended when Psinakis became Rouvas' manager, and the singer became more career-oriented. The media has speculated about Rouvas' personal life and relationships with model Zeta Logotheti, Sofi Kantarou (a Corfu bar manager) and singer Elli Kokkinou. Several months later he debuted at the Thessaloniki Song Festival, losing Best Vocal Performance to Giorgos Alkaios but singing the Best Composition ("Par'ta"; "Take Them", with music by Nikos Terzis and lyrics by Giorgos Pavrianos). There was a brief earthquake during the festival.  Rouvas released his eponymous debut album, which topped the Greek Albums Chart, the day after the festival. "Par'ta" became a radio hit, and other songs of the album such as "1992", "Ego S'agapo" ("I Love You") and "Gia Fantasou" ("Imagine") also became popular.  In September 1992 Rouvas released his second album, Min Andistekese (Don't Resist), also composed by Nikos Terzis. It produced the singles "Gyrna" ("Return"), "Min Andistekese", "Na Ziseis Moro Mou" ("Live, My Baby") and "Me Kommeni Tin Anasa" ("Breathless"), with a music video of the title track. The album's success helped establish Rouvas at the top of the Greek music scene.  In October 1993 Rouvas released his third album, Gia Sena (For You), with music by Alexis Papadimitriou and lyrics by Eleni Giannatsoulia and Evi Droutsa. The single "Kane Me" ("Make Me") became a radio hit, with "To Xero Eisai Moni" ("I Know You Are Alone") and "Xehase To" ("Forget It") also receiving airplay. CANNOTANSWER

Question: When did Sakis first start experiencing success?
Answer: made his first professional appearance in 1991 at the Show Centre.
Sakis Rouvas

Context: After moving to Patras, Rouvas continued to look for performance opportunities until he met Dakis (a popular Greek artist who was the first person to help him professionally). Rouvas moved to Athens, and made his first professional appearance in 1991 at the Show Centre. His showmanship attracted the attention of music executives such as Nikos Mouratidis, who encouraged songwriter Giorgos Pavrianos to produce him. Rouvas, singing Michael Jackson's "Man in the Mirror" was discovered by PolyGram executives who signed him to his first recording contract. After moving to Athens he lived with an older English woman named Sally, with whom he had begun a relationship on Corfu. Their relationship ended when Psinakis became Rouvas' manager, and the singer became more career-oriented. The media has speculated about Rouvas' personal life and relationships with model Zeta Logotheti, Sofi Kantarou (a Corfu bar manager) and singer Elli Kokkinou. Several months later he debuted at the Thessaloniki Song Festival, losing Best Vocal Performance to Giorgos Alkaios but singing the Best Composition ("Par'ta"; "Take Them", with music by Nikos Terzis and lyrics by Giorgos Pavrianos). There was a brief earthquake during the festival.  Rouvas released his eponymous debut album, which topped the Greek Albums Chart, the day after the festival. "Par'ta" became a radio hit, and other songs of the album such as "1992", "Ego S'agapo" ("I Love You") and "Gia Fantasou" ("Imagine") also became popular.  In September 1992 Rouvas released his second album, Min Andistekese (Don't Resist), also composed by Nikos Terzis. It produced the singles "Gyrna" ("Return"), "Min Andistekese", "Na Ziseis Moro Mou" ("Live, My Baby") and "Me Kommeni Tin Anasa" ("Breathless"), with a music video of the title track. The album's success helped establish Rouvas at the top of the Greek music scene.  In October 1993 Rouvas released his third album, Gia Sena (For You), with music by Alexis Papadimitriou and lyrics by Eleni Giannatsoulia and Evi Droutsa. The single "Kane Me" ("Make Me") became a radio hit, with "To Xero Eisai Moni" ("I Know You Are Alone") and "Xehase To" ("Forget It") also receiving airplay. CANNOTANSWER

Question: Did Sakis have any hits during the early period?
Answer: "Par'ta" became a radio hit, and other songs of the album such as "1992", "Ego S'agapo" ("I Love You") and "Gia Fantasou" ("Imagine") also became popular.
Sakis Rouvas

Context: After moving to Patras, Rouvas continued to look for performance opportunities until he met Dakis (a popular Greek artist who was the first person to help him professionally). Rouvas moved to Athens, and made his first professional appearance in 1991 at the Show Centre. His showmanship attracted the attention of music executives such as Nikos Mouratidis, who encouraged songwriter Giorgos Pavrianos to produce him. Rouvas, singing Michael Jackson's "Man in the Mirror" was discovered by PolyGram executives who signed him to his first recording contract. After moving to Athens he lived with an older English woman named Sally, with whom he had begun a relationship on Corfu. Their relationship ended when Psinakis became Rouvas' manager, and the singer became more career-oriented. The media has speculated about Rouvas' personal life and relationships with model Zeta Logotheti, Sofi Kantarou (a Corfu bar manager) and singer Elli Kokkinou. Several months later he debuted at the Thessaloniki Song Festival, losing Best Vocal Performance to Giorgos Alkaios but singing the Best Composition ("Par'ta"; "Take Them", with music by Nikos Terzis and lyrics by Giorgos Pavrianos). There was a brief earthquake during the festival.  Rouvas released his eponymous debut album, which topped the Greek Albums Chart, the day after the festival. "Par'ta" became a radio hit, and other songs of the album such as "1992", "Ego S'agapo" ("I Love You") and "Gia Fantasou" ("Imagine") also became popular.  In September 1992 Rouvas released his second album, Min Andistekese (Don't Resist), also composed by Nikos Terzis. It produced the singles "Gyrna" ("Return"), "Min Andistekese", "Na Ziseis Moro Mou" ("Live, My Baby") and "Me Kommeni Tin Anasa" ("Breathless"), with a music video of the title track. The album's success helped establish Rouvas at the top of the Greek music scene.  In October 1993 Rouvas released his third album, Gia Sena (For You), with music by Alexis Papadimitriou and lyrics by Eleni Giannatsoulia and Evi Droutsa. The single "Kane Me" ("Make Me") became a radio hit, with "To Xero Eisai Moni" ("I Know You Are Alone") and "Xehase To" ("Forget It") also receiving airplay. CANNOTANSWER

Question: What kinds of performing did Sakis do besides singing?
Answer: CANNOTANSWER
Sakis Rouvas

Context: After moving to Patras, Rouvas continued to look for performance opportunities until he met Dakis (a popular Greek artist who was the first person to help him professionally). Rouvas moved to Athens, and made his first professional appearance in 1991 at the Show Centre. His showmanship attracted the attention of music executives such as Nikos Mouratidis, who encouraged songwriter Giorgos Pavrianos to produce him. Rouvas, singing Michael Jackson's "Man in the Mirror" was discovered by PolyGram executives who signed him to his first recording contract. After moving to Athens he lived with an older English woman named Sally, with whom he had begun a relationship on Corfu. Their relationship ended when Psinakis became Rouvas' manager, and the singer became more career-oriented. The media has speculated about Rouvas' personal life and relationships with model Zeta Logotheti, Sofi Kantarou (a Corfu bar manager) and singer Elli Kokkinou. Several months later he debuted at the Thessaloniki Song Festival, losing Best Vocal Performance to Giorgos Alkaios but singing the Best Composition ("Par'ta"; "Take Them", with music by Nikos Terzis and lyrics by Giorgos Pavrianos). There was a brief earthquake during the festival.  Rouvas released his eponymous debut album, which topped the Greek Albums Chart, the day after the festival. "Par'ta" became a radio hit, and other songs of the album such as "1992", "Ego S'agapo" ("I Love You") and "Gia Fantasou" ("Imagine") also became popular.  In September 1992 Rouvas released his second album, Min Andistekese (Don't Resist), also composed by Nikos Terzis. It produced the singles "Gyrna" ("Return"), "Min Andistekese", "Na Ziseis Moro Mou" ("Live, My Baby") and "Me Kommeni Tin Anasa" ("Breathless"), with a music video of the title track. The album's success helped establish Rouvas at the top of the Greek music scene.  In October 1993 Rouvas released his third album, Gia Sena (For You), with music by Alexis Papadimitriou and lyrics by Eleni Giannatsoulia and Evi Droutsa. The single "Kane Me" ("Make Me") became a radio hit, with "To Xero Eisai Moni" ("I Know You Are Alone") and "Xehase To" ("Forget It") also receiving airplay. CANNOTANSWER

Question: Did Sakis collaborate with anyone during Sakis' early success?
Answer: CANNOTANSWER
Sakis Rouvas

Context: After moving to Patras, Rouvas continued to look for performance opportunities until he met Dakis (a popular Greek artist who was the first person to help him professionally). Rouvas moved to Athens, and made his first professional appearance in 1991 at the Show Centre. His showmanship attracted the attention of music executives such as Nikos Mouratidis, who encouraged songwriter Giorgos Pavrianos to produce him. Rouvas, singing Michael Jackson's "Man in the Mirror" was discovered by PolyGram executives who signed him to his first recording contract. After moving to Athens he lived with an older English woman named Sally, with whom he had begun a relationship on Corfu. Their relationship ended when Psinakis became Rouvas' manager, and the singer became more career-oriented. The media has speculated about Rouvas' personal life and relationships with model Zeta Logotheti, Sofi Kantarou (a Corfu bar manager) and singer Elli Kokkinou. Several months later he debuted at the Thessaloniki Song Festival, losing Best Vocal Performance to Giorgos Alkaios but singing the Best Composition ("Par'ta"; "Take Them", with music by Nikos Terzis and lyrics by Giorgos Pavrianos). There was a brief earthquake during the festival.  Rouvas released his eponymous debut album, which topped the Greek Albums Chart, the day after the festival. "Par'ta" became a radio hit, and other songs of the album such as "1992", "Ego S'agapo" ("I Love You") and "Gia Fantasou" ("Imagine") also became popular.  In September 1992 Rouvas released his second album, Min Andistekese (Don't Resist), also composed by Nikos Terzis. It produced the singles "Gyrna" ("Return"), "Min Andistekese", "Na Ziseis Moro Mou" ("Live, My Baby") and "Me Kommeni Tin Anasa" ("Breathless"), with a music video of the title track. The album's success helped establish Rouvas at the top of the Greek music scene.  In October 1993 Rouvas released his third album, Gia Sena (For You), with music by Alexis Papadimitriou and lyrics by Eleni Giannatsoulia and Evi Droutsa. The single "Kane Me" ("Make Me") became a radio hit, with "To Xero Eisai Moni" ("I Know You Are Alone") and "Xehase To" ("Forget It") also receiving airplay. CANNOTANSWER

Question: How many albums did Sakis release during when during the period of early success?
Answer: In October 1993 Rouvas released his third album, Gia Sena (For You),
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Where did Gigi (1958 film) filmed?
Answer: Paris.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: How was the weather during filming Gigi (1958 film)?
Answer: The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Where did Gigi (1958 film) was filmed when the weather became unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable?
Answer: Paris.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Did Gigi (1958 film) crew like filming in California?
Answer: unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense,
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: When were Gigi (1958 film) crew able to finish the score?
Answer: By mid-July, the composers had completed most of the score, but still were missing the title tune.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Besides the score Is there any other interesting information about Gigi (1958 film)?
Answer: The film title design uses the artwork of Sem's work from the Belle Epoque.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: In addition to filming in Paris and Californiya is there any other interesting information Gigi (1958 film)?
Answer: The film title design uses the artwork of Sem's work from the Belle Epoque.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Why did Charles Walters do the Gigi (1958 film) reshoot?
Answer: Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense,
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Did Lerner make any changes to the Gigi (1958 film) reshoot script?
Answer: Lerner also expanded the focus on Gigi's relationship with her grandmother.
Gigi (1958 film)

Context: In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.  By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."  In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project.  The film title design uses the artwork of Sem's work from the Belle Epoque. CANNOTANSWER

Question: Was Gigi (1958 film) title tune easy to come up with for the film?
Answer: By mid-July, the composers had completed most of the score, but still were missing the title tune.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: When did Joe Tinker start his career?
Answer: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: Other than playing for the Chicago Cubs, was Joe Tinker known for anything else during 1902 to 1912 as a shortstop?
Answer: He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: So Joe Tinker was a good runner, but could he bat?
Answer: Despite being just an average hitter, batting .268 for his career in an era of high batting averages,
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: Did Joe Tinker ever play in the World Series?
Answer: ). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: Did Joe Tinker go on to play with anyone after the Cubs?
Answer: Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: What was the outcome of Joe Tinker's fight against Rabbit Maranville?
Answer: In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: Besides Joe Tinker's tendency to get into fights, is there anything else that is interesting about Tinker?
Answer: Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon",
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: Was "Baseball's Sad Lexicon" ever published?
Answer: written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910.
Joe Tinker

Context: Tinker was the starting shortstop for the Chicago Cubs from 1902 to 1912. He was a speedy runner, stealing an average of 28 bases a season and even stealing home twice in one game on July 28, 1910. He also excelled at fielding, often leading the National League in a number of statistical categories (including four times in fielding percentage). During his decade with the Cubs, they went to the World Series four times, winning in 1907 and 1908.  Despite being just an average hitter, batting .268 for his career in an era of high batting averages, Tinker had a good amount of success against fellow Hall of Famer Christy Mathewson, batting .350 against the Hall of Fame pitcher over his career. In Mathewson's 1912 book, Pitching in a Pinch, he referred to Tinker as "the worst man I have to face in the National League."  Tinker is perhaps best known for the "Tinker to Evers to Chance" double play combination in the poem "Baseball's Sad Lexicon", written by the New York Evening Mail newspaper columnist Franklin Pierce Adams in July 1910. The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.  Tinker was also noted as a fighter. In addition to fighting Evers, Tinker defeated Egan in a fight after a game and fought Rabbit Maranville during a game. In 1908, he was arrested for assault when he got into a fight with a fan at a saloon he owned. He was acquitted of the charge. CANNOTANSWER

Question: What was "Baseball's Sad Lexicon" about?
Answer: The poem was written as a lamentation from the perspective of a New York Giants fan on how the team is consistently defeated by the Chicago Cubs.
Dixy Lee Ray

Context: Intrigued by her reputation as a person who could "make science interesting," producers at KCTS-TV, Seattle's PBS affiliate, approached Ray about hosting a weekly television program on marine biology. The show, Animals of the Seashore, was a hit and helped propel her into the public eye beyond campus. Her growing popularity led to the Pacific Science Center extending an invitation to Ray to take over the nearly-bankrupt science museum for an annual salary of $20,000. Ray jumped at the opportunity and immediately began a top-to-bottom overhaul of the center, declaring "I'll be damned if I'm going to become a landlady to a hoary old museum." Under Ray's guidance, the Pacific Science Center was converted from a traditional, exhibit-oriented museum to an interactive learning center.  Ray's hands-on approach to running the Pacific Science Center reflected at every level. She kept a police whistle in her desk that she would use to run off loitering hippies. Jim Anderson, who would eventually teach fisheries science at the University of Washington, recalled a typical encounter with Ray, for whom he worked at the Pacific Science Center in 1968:  Her driving was infamous and my one ride with her, in a three-quarter-ton flatbed truck, was wholly memorable. Admittedly, it was an early Sunday morning, but sliding through stop signs, a few crosswise, was disconcerting at best. The ride went over the top when we reached the Science Center. The lot was full of cars without permits. Trying to fit in a very small space with a large flatbed truck, she dented two cars, broke the taillight off a third, and finally vaporized the rear window of a fourth.  Ray led the Pacific Science Center back into financial solvency. Her aggressive fundraising for the center also helped introduce her to many of the city's most influential citizens, including Senator Warren Magnuson. CANNOTANSWER

Question: How was Dixy Lee Ray involved with KCTS-TV?
Answer: producers at KCTS-TV, Seattle's PBS affiliate, approached Ray about hosting a weekly television program on marine biology.