gaussalgo/Canard_Wiki-augmented huggingface dataset:
Richard Glücks

Context: When Eicke became field commander of the SS Division Totenkopf during the summer of 1939, Glucks was promoted by Himmler on 15 November 1939 as Eicke's successor to the post of Concentration Camps Inspector. As the Concentration Camps Inspector, Glucks was directly subordinate to Himmler--as Eicke had been--but, in contrast with the warm relation between Himmler and the older Eicke, Glucks only rarely met with Himmler, who promoted him not for his leadership competencies but for his ability to "provide the administrative continuity" with Eicke's policies. Glucks made few changes, leaving the organizational structure intact as Eicke had set it up. Because Glucks never served inside a concentration camp, some senior camp members were suspicious and considered him nothing more than a desk-side bureaucrat. In terms of his leadership style, he preferred men of action and allowed them some autonomy in operating their respective camps.  Glucks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour. In this phase, he urged camp commandants to lower the death rate in the camps, as it went counter to the economic objectives his department was to fulfill. Other orders of his were to ask for the inmates to be made to work continuously. At the same time, it was Glucks who recommended on 21 February 1940, Auschwitz, a former Austrian cavalry barracks, as a suitable site for a new concentration camp to Himmler and Reinhard Heydrich. Glucks accompanied Himmler and several chief directors of I.G. Farben on 1 March 1941 for a visit to Auschwitz, where it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established at nearby Birkenau capable of housing 100,000 POWs, and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal.  On 20 April 1941 Glucks was promoted to the rank of an SS-Brigadefuhrer and in November 1943, Glucks was made SS-Gruppenfuhrer and a Generalleutnant of the Waffen-SS. From 1942 on, Glucks was increasingly involved in the implementation of the "Final Solution", along with Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glucks, along with other senior SS camp managers, attended weekly meetings conducted by Pohl. Glucks never attempted to outshine his superior and was quite aware of his subordination to Pohl. CANNOTANSWER

Question: Did other people know what Richard Glücks was doing in concentration camps
Answer: along with Oswald Pohl.
Richard Glücks

Context: When Eicke became field commander of the SS Division Totenkopf during the summer of 1939, Glucks was promoted by Himmler on 15 November 1939 as Eicke's successor to the post of Concentration Camps Inspector. As the Concentration Camps Inspector, Glucks was directly subordinate to Himmler--as Eicke had been--but, in contrast with the warm relation between Himmler and the older Eicke, Glucks only rarely met with Himmler, who promoted him not for his leadership competencies but for his ability to "provide the administrative continuity" with Eicke's policies. Glucks made few changes, leaving the organizational structure intact as Eicke had set it up. Because Glucks never served inside a concentration camp, some senior camp members were suspicious and considered him nothing more than a desk-side bureaucrat. In terms of his leadership style, he preferred men of action and allowed them some autonomy in operating their respective camps.  Glucks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour. In this phase, he urged camp commandants to lower the death rate in the camps, as it went counter to the economic objectives his department was to fulfill. Other orders of his were to ask for the inmates to be made to work continuously. At the same time, it was Glucks who recommended on 21 February 1940, Auschwitz, a former Austrian cavalry barracks, as a suitable site for a new concentration camp to Himmler and Reinhard Heydrich. Glucks accompanied Himmler and several chief directors of I.G. Farben on 1 March 1941 for a visit to Auschwitz, where it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established at nearby Birkenau capable of housing 100,000 POWs, and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal.  On 20 April 1941 Glucks was promoted to the rank of an SS-Brigadefuhrer and in November 1943, Glucks was made SS-Gruppenfuhrer and a Generalleutnant of the Waffen-SS. From 1942 on, Glucks was increasingly involved in the implementation of the "Final Solution", along with Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glucks, along with other senior SS camp managers, attended weekly meetings conducted by Pohl. Glucks never attempted to outshine his superior and was quite aware of his subordination to Pohl. CANNOTANSWER

Question: was the plane to murder all the jews in concentration camps by Richard Glücks
Answer: CANNOTANSWER
Richard Glücks

Context: When Eicke became field commander of the SS Division Totenkopf during the summer of 1939, Glucks was promoted by Himmler on 15 November 1939 as Eicke's successor to the post of Concentration Camps Inspector. As the Concentration Camps Inspector, Glucks was directly subordinate to Himmler--as Eicke had been--but, in contrast with the warm relation between Himmler and the older Eicke, Glucks only rarely met with Himmler, who promoted him not for his leadership competencies but for his ability to "provide the administrative continuity" with Eicke's policies. Glucks made few changes, leaving the organizational structure intact as Eicke had set it up. Because Glucks never served inside a concentration camp, some senior camp members were suspicious and considered him nothing more than a desk-side bureaucrat. In terms of his leadership style, he preferred men of action and allowed them some autonomy in operating their respective camps.  Glucks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour. In this phase, he urged camp commandants to lower the death rate in the camps, as it went counter to the economic objectives his department was to fulfill. Other orders of his were to ask for the inmates to be made to work continuously. At the same time, it was Glucks who recommended on 21 February 1940, Auschwitz, a former Austrian cavalry barracks, as a suitable site for a new concentration camp to Himmler and Reinhard Heydrich. Glucks accompanied Himmler and several chief directors of I.G. Farben on 1 March 1941 for a visit to Auschwitz, where it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established at nearby Birkenau capable of housing 100,000 POWs, and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal.  On 20 April 1941 Glucks was promoted to the rank of an SS-Brigadefuhrer and in November 1943, Glucks was made SS-Gruppenfuhrer and a Generalleutnant of the Waffen-SS. From 1942 on, Glucks was increasingly involved in the implementation of the "Final Solution", along with Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glucks, along with other senior SS camp managers, attended weekly meetings conducted by Pohl. Glucks never attempted to outshine his superior and was quite aware of his subordination to Pohl. CANNOTANSWER

Question: how many concentration camps were there besides Auschwitz and nearby Birkenau
Answer: and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal.
Richard Glücks

Context: When Eicke became field commander of the SS Division Totenkopf during the summer of 1939, Glucks was promoted by Himmler on 15 November 1939 as Eicke's successor to the post of Concentration Camps Inspector. As the Concentration Camps Inspector, Glucks was directly subordinate to Himmler--as Eicke had been--but, in contrast with the warm relation between Himmler and the older Eicke, Glucks only rarely met with Himmler, who promoted him not for his leadership competencies but for his ability to "provide the administrative continuity" with Eicke's policies. Glucks made few changes, leaving the organizational structure intact as Eicke had set it up. Because Glucks never served inside a concentration camp, some senior camp members were suspicious and considered him nothing more than a desk-side bureaucrat. In terms of his leadership style, he preferred men of action and allowed them some autonomy in operating their respective camps.  Glucks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour. In this phase, he urged camp commandants to lower the death rate in the camps, as it went counter to the economic objectives his department was to fulfill. Other orders of his were to ask for the inmates to be made to work continuously. At the same time, it was Glucks who recommended on 21 February 1940, Auschwitz, a former Austrian cavalry barracks, as a suitable site for a new concentration camp to Himmler and Reinhard Heydrich. Glucks accompanied Himmler and several chief directors of I.G. Farben on 1 March 1941 for a visit to Auschwitz, where it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established at nearby Birkenau capable of housing 100,000 POWs, and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal.  On 20 April 1941 Glucks was promoted to the rank of an SS-Brigadefuhrer and in November 1943, Glucks was made SS-Gruppenfuhrer and a Generalleutnant of the Waffen-SS. From 1942 on, Glucks was increasingly involved in the implementation of the "Final Solution", along with Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glucks, along with other senior SS camp managers, attended weekly meetings conducted by Pohl. Glucks never attempted to outshine his superior and was quite aware of his subordination to Pohl. CANNOTANSWER

Question: Besides Richard Glücks and Oswald Pohl are there any other interesting aspects about this article?
Answer: Glucks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour.
Richard Glücks

Context: When Eicke became field commander of the SS Division Totenkopf during the summer of 1939, Glucks was promoted by Himmler on 15 November 1939 as Eicke's successor to the post of Concentration Camps Inspector. As the Concentration Camps Inspector, Glucks was directly subordinate to Himmler--as Eicke had been--but, in contrast with the warm relation between Himmler and the older Eicke, Glucks only rarely met with Himmler, who promoted him not for his leadership competencies but for his ability to "provide the administrative continuity" with Eicke's policies. Glucks made few changes, leaving the organizational structure intact as Eicke had set it up. Because Glucks never served inside a concentration camp, some senior camp members were suspicious and considered him nothing more than a desk-side bureaucrat. In terms of his leadership style, he preferred men of action and allowed them some autonomy in operating their respective camps.  Glucks's responsibilities at first mainly covered the use of concentration camp inmates for forced labour. In this phase, he urged camp commandants to lower the death rate in the camps, as it went counter to the economic objectives his department was to fulfill. Other orders of his were to ask for the inmates to be made to work continuously. At the same time, it was Glucks who recommended on 21 February 1940, Auschwitz, a former Austrian cavalry barracks, as a suitable site for a new concentration camp to Himmler and Reinhard Heydrich. Glucks accompanied Himmler and several chief directors of I.G. Farben on 1 March 1941 for a visit to Auschwitz, where it was decided that the camp would be expanded to accommodate up to 30,000 prisoners, an additional camp would be established at nearby Birkenau capable of housing 100,000 POWs, and that a factory would be constructed in proximity with the camp prisoners placed at I.G. Farben's disposal.  On 20 April 1941 Glucks was promoted to the rank of an SS-Brigadefuhrer and in November 1943, Glucks was made SS-Gruppenfuhrer and a Generalleutnant of the Waffen-SS. From 1942 on, Glucks was increasingly involved in the implementation of the "Final Solution", along with Oswald Pohl. To oversee the coordination of camp related activities, which varied from the medical concerns of personnel and prisoners, the status of construction projects, and the progress of extermination operations, Glucks, along with other senior SS camp managers, attended weekly meetings conducted by Pohl. Glucks never attempted to outshine his superior and was quite aware of his subordination to Pohl. CANNOTANSWER

Question: Were there russian prisoners in Auschwitz and nearby Birkenau concentration camps
Answer: CANNOTANSWER
The Kinks

Context: The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night".  From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period.  Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career. CANNOTANSWER

Question: What was The Kinks' musical style like?
Answer: R&B and blues styles;
The Kinks

Context: The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night".  From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period.  Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career. CANNOTANSWER

Question: Who were The Kinks' influences?
Answer: influence of The Kingsmen's "Louie Louie" recording,
The Kinks

Context: The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night".  From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period.  Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career. CANNOTANSWER

Question: Did The Kinks work with anyone?
Answer: CANNOTANSWER
Ancient Hawaii

Context: Religion held ancient Hawaiian society together, affecting habits, lifestyles, work methods, social policy and law. The legal system was based on religious kapu, or taboos. There was a correct way to live, to worship, and even to eat. Examples of kapu included the provision that men and women could not eat together (`Aikapu religion). Fishing was limited to specified seasons of the year. The shadow of the ali`i must not be touched as it was stealing his mana.  The rigidity of the kapu system might have come from a second wave of migrations in 1000-1300 from which different religions and systems were shared between Hawai`i and the Society Islands. Hawai`i would have been influenced by the Tahitian chiefs, the kapu system would have become stricter, and the social structure would have changed. Human sacrifice would have become a part of their new religious observance, and the ali`i would have gained more power over the counsel of experts on the islands.  Kapu was derived from traditions and beliefs from Hawaiian worship of gods, demigods and ancestral mana. The forces of nature were personified as the main gods of Ku (God of War), Kane (God of Light and Life), Kanaloa (God of Death), and Lono (God of peace and growth). Well-known lesser gods include Pele (Goddess of Fire) and her sister Hi`iaka (Goddess of Dance). In a famous creation story, the demigod Maui fished the islands of Hawai`i from the sea after a little mistake he made on a fishing trip. From Haleakala, Maui ensnared the sun in another story, forcing him to slow down so there were equal periods of darkness and light each day.  The Hawaiian mystical worldview allows for different gods and spirits to imbue any aspect of the natural world. From this mystical perspective, in addition to his presence in lightning and rainbows, the God of Light and Life, Kane, can be present in rain and clouds and a peaceful breeze (typically the "home" of Lono).  Although all food and drink had religious significance to the ancient Hawaiians, special cultural emphasis was placed on `awa (kava) due to its narcotic properties. This root-based beverage, a psychoactive and a relaxant, was used to consecrate meals and commemorate ceremonies. It is often referred to in Hawaiian chant. Different varieties of the root were used by different castes, and the brew served as an "introduction to mysticism". CANNOTANSWER

Question: How did religion affect Ancient Hawaii's society?
Answer: Religion held ancient Hawaiian society together, affecting habits, lifestyles, work methods, social policy and law.
Ancient Hawaii

Context: Religion held ancient Hawaiian society together, affecting habits, lifestyles, work methods, social policy and law. The legal system was based on religious kapu, or taboos. There was a correct way to live, to worship, and even to eat. Examples of kapu included the provision that men and women could not eat together (`Aikapu religion). Fishing was limited to specified seasons of the year. The shadow of the ali`i must not be touched as it was stealing his mana.  The rigidity of the kapu system might have come from a second wave of migrations in 1000-1300 from which different religions and systems were shared between Hawai`i and the Society Islands. Hawai`i would have been influenced by the Tahitian chiefs, the kapu system would have become stricter, and the social structure would have changed. Human sacrifice would have become a part of their new religious observance, and the ali`i would have gained more power over the counsel of experts on the islands.  Kapu was derived from traditions and beliefs from Hawaiian worship of gods, demigods and ancestral mana. The forces of nature were personified as the main gods of Ku (God of War), Kane (God of Light and Life), Kanaloa (God of Death), and Lono (God of peace and growth). Well-known lesser gods include Pele (Goddess of Fire) and her sister Hi`iaka (Goddess of Dance). In a famous creation story, the demigod Maui fished the islands of Hawai`i from the sea after a little mistake he made on a fishing trip. From Haleakala, Maui ensnared the sun in another story, forcing him to slow down so there were equal periods of darkness and light each day.  The Hawaiian mystical worldview allows for different gods and spirits to imbue any aspect of the natural world. From this mystical perspective, in addition to his presence in lightning and rainbows, the God of Light and Life, Kane, can be present in rain and clouds and a peaceful breeze (typically the "home" of Lono).  Although all food and drink had religious significance to the ancient Hawaiians, special cultural emphasis was placed on `awa (kava) due to its narcotic properties. This root-based beverage, a psychoactive and a relaxant, was used to consecrate meals and commemorate ceremonies. It is often referred to in Hawaiian chant. Different varieties of the root were used by different castes, and the brew served as an "introduction to mysticism". CANNOTANSWER

Question: What is the Kapu system of the Ancient Hawaii?
Answer: The legal system was based on religious kapu, or taboos.
Ancient Hawaii

Context: Religion held ancient Hawaiian society together, affecting habits, lifestyles, work methods, social policy and law. The legal system was based on religious kapu, or taboos. There was a correct way to live, to worship, and even to eat. Examples of kapu included the provision that men and women could not eat together (`Aikapu religion). Fishing was limited to specified seasons of the year. The shadow of the ali`i must not be touched as it was stealing his mana.  The rigidity of the kapu system might have come from a second wave of migrations in 1000-1300 from which different religions and systems were shared between Hawai`i and the Society Islands. Hawai`i would have been influenced by the Tahitian chiefs, the kapu system would have become stricter, and the social structure would have changed. Human sacrifice would have become a part of their new religious observance, and the ali`i would have gained more power over the counsel of experts on the islands.  Kapu was derived from traditions and beliefs from Hawaiian worship of gods, demigods and ancestral mana. The forces of nature were personified as the main gods of Ku (God of War), Kane (God of Light and Life), Kanaloa (God of Death), and Lono (God of peace and growth). Well-known lesser gods include Pele (Goddess of Fire) and her sister Hi`iaka (Goddess of Dance). In a famous creation story, the demigod Maui fished the islands of Hawai`i from the sea after a little mistake he made on a fishing trip. From Haleakala, Maui ensnared the sun in another story, forcing him to slow down so there were equal periods of darkness and light each day.  The Hawaiian mystical worldview allows for different gods and spirits to imbue any aspect of the natural world. From this mystical perspective, in addition to his presence in lightning and rainbows, the God of Light and Life, Kane, can be present in rain and clouds and a peaceful breeze (typically the "home" of Lono).  Although all food and drink had religious significance to the ancient Hawaiians, special cultural emphasis was placed on `awa (kava) due to its narcotic properties. This root-based beverage, a psychoactive and a relaxant, was used to consecrate meals and commemorate ceremonies. It is often referred to in Hawaiian chant. Different varieties of the root were used by different castes, and the brew served as an "introduction to mysticism". CANNOTANSWER

Question: What are some examples of the kapu system in Ancient Hawaii's society?
Answer: There was a correct way to live, to worship, and even to eat.
Ancient Hawaii

Context: Religion held ancient Hawaiian society together, affecting habits, lifestyles, work methods, social policy and law. The legal system was based on religious kapu, or taboos. There was a correct way to live, to worship, and even to eat. Examples of kapu included the provision that men and women could not eat together (`Aikapu religion). Fishing was limited to specified seasons of the year. The shadow of the ali`i must not be touched as it was stealing his mana.  The rigidity of the kapu system might have come from a second wave of migrations in 1000-1300 from which different religions and systems were shared between Hawai`i and the Society Islands. Hawai`i would have been influenced by the Tahitian chiefs, the kapu system would have become stricter, and the social structure would have changed. Human sacrifice would have become a part of their new religious observance, and the ali`i would have gained more power over the counsel of experts on the islands.  Kapu was derived from traditions and beliefs from Hawaiian worship of gods, demigods and ancestral mana. The forces of nature were personified as the main gods of Ku (God of War), Kane (God of Light and Life), Kanaloa (God of Death), and Lono (God of peace and growth). Well-known lesser gods include Pele (Goddess of Fire) and her sister Hi`iaka (Goddess of Dance). In a famous creation story, the demigod Maui fished the islands of Hawai`i from the sea after a little mistake he made on a fishing trip. From Haleakala, Maui ensnared the sun in another story, forcing him to slow down so there were equal periods of darkness and light each day.  The Hawaiian mystical worldview allows for different gods and spirits to imbue any aspect of the natural world. From this mystical perspective, in addition to his presence in lightning and rainbows, the God of Light and Life, Kane, can be present in rain and clouds and a peaceful breeze (typically the "home" of Lono).  Although all food and drink had religious significance to the ancient Hawaiians, special cultural emphasis was placed on `awa (kava) due to its narcotic properties. This root-based beverage, a psychoactive and a relaxant, was used to consecrate meals and commemorate ceremonies. It is often referred to in Hawaiian chant. Different varieties of the root were used by different castes, and the brew served as an "introduction to mysticism". CANNOTANSWER

Question: What are the beginnings of the kapu system of the Ancient Hawaii like?
Answer: The rigidity of the kapu system might have come from a second wave of migrations in 1000-1300 from which different religions and systems
Ancient Hawaii

Context: Religion held ancient Hawaiian society together, affecting habits, lifestyles, work methods, social policy and law. The legal system was based on religious kapu, or taboos. There was a correct way to live, to worship, and even to eat. Examples of kapu included the provision that men and women could not eat together (`Aikapu religion). Fishing was limited to specified seasons of the year. The shadow of the ali`i must not be touched as it was stealing his mana.  The rigidity of the kapu system might have come from a second wave of migrations in 1000-1300 from which different religions and systems were shared between Hawai`i and the Society Islands. Hawai`i would have been influenced by the Tahitian chiefs, the kapu system would have become stricter, and the social structure would have changed. Human sacrifice would have become a part of their new religious observance, and the ali`i would have gained more power over the counsel of experts on the islands.  Kapu was derived from traditions and beliefs from Hawaiian worship of gods, demigods and ancestral mana. The forces of nature were personified as the main gods of Ku (God of War), Kane (God of Light and Life), Kanaloa (God of Death), and Lono (God of peace and growth). Well-known lesser gods include Pele (Goddess of Fire) and her sister Hi`iaka (Goddess of Dance). In a famous creation story, the demigod Maui fished the islands of Hawai`i from the sea after a little mistake he made on a fishing trip. From Haleakala, Maui ensnared the sun in another story, forcing him to slow down so there were equal periods of darkness and light each day.  The Hawaiian mystical worldview allows for different gods and spirits to imbue any aspect of the natural world. From this mystical perspective, in addition to his presence in lightning and rainbows, the God of Light and Life, Kane, can be present in rain and clouds and a peaceful breeze (typically the "home" of Lono).  Although all food and drink had religious significance to the ancient Hawaiians, special cultural emphasis was placed on `awa (kava) due to its narcotic properties. This root-based beverage, a psychoactive and a relaxant, was used to consecrate meals and commemorate ceremonies. It is often referred to in Hawaiian chant. Different varieties of the root were used by different castes, and the brew served as an "introduction to mysticism". CANNOTANSWER

Question: How did the wave of migrations in 1000-1300 affect Hawaii society or the system?
Answer: Hawai`i would have been influenced by the Tahitian chiefs, the kapu system would have become stricter, and the social structure would have changed.
Blink-182

Context: Eventually, the band appeared for the first time on stage together in nearly five years as presenters at the February 2009 Grammy Awards, announcing their reunion. The trio embarked on a reunion tour of North America from July to October 2009, with a European trek following from August to September 2010. The recording process for Neighborhoods, the band's sixth studio album, was stalled by its studio autonomy, tours, managers, and personal projects. DeLonge recorded at his studio in San Diego while Hoppus and Barker recorded in Los Angeles--an extension of their strained communication. The self-produced album--their first without producer Jerry Finn--was released in September 2011 and peaked at number two on the Billboard 200. Its singles--"Up All Night" and "After Midnight"--only attracted modest chart success, and label Interscope was reportedly disappointed with album sales.  "Despite growing evidence of remaining friction between the members," the band continued to tour in the early 2010s. They headlined the 10th Annual Honda Civic Tour in North America from in 2011, and toured Europe in 2012. The band left Interscope Records that October, and subsequently released Dogs Eating Dogs, an EP, in December 2012. The trio toured Australia in 2013; Brooks Wackerman replaced Barker on drums as Barker was unwilling to fly after his plane crash. These dates were followed with a small North American tour, and a series of shows celebrating the tenth anniversary of the band's self-titled album that November. The band played a European tour in August 2014, culminating in them headlining the Reading and Leeds Festivals; it was the band's fourth appearance at the festival and second headlining slot.  The reunion of the band has been characterized as dysfunctional by both Barker and DeLonge. Hoppus commented on this era of the band in a later interview: "Everything was always very contentious. There was always just a strange vibe. [...] I knew there was something wrong." In his memoir, Can I Say, Barker claims DeLonge's behavior on tour was "introverted" until "money started coming in," after which "he'd get excited about Blink." He states DeLonge abruptly quit sometime in mid-2014, and rejoined the following day. The group planned to begin writing their seventh album in January 2015, which had continually seen delays. "I'd do interviews and I just felt awful for fans because they were promised albums for years and we couldn't do it," Barker later said. A record deal was finalized and sessions were booked before DeLonge's manager informed the band he intended to spend more time on "non-musical activities" and indefinitely depart the group. In his own statement, DeLonge remarked that he "Never planned on quitting, just find it hard as hell to commit." After these events, Barker summarized the band's reunion: "Why Blink even got back together in the first place is questionable." CANNOTANSWER

Question: What is Blink-182, Reformation about?
Answer: The trio embarked on a reunion tour of North America
Blink-182

Context: Eventually, the band appeared for the first time on stage together in nearly five years as presenters at the February 2009 Grammy Awards, announcing their reunion. The trio embarked on a reunion tour of North America from July to October 2009, with a European trek following from August to September 2010. The recording process for Neighborhoods, the band's sixth studio album, was stalled by its studio autonomy, tours, managers, and personal projects. DeLonge recorded at his studio in San Diego while Hoppus and Barker recorded in Los Angeles--an extension of their strained communication. The self-produced album--their first without producer Jerry Finn--was released in September 2011 and peaked at number two on the Billboard 200. Its singles--"Up All Night" and "After Midnight"--only attracted modest chart success, and label Interscope was reportedly disappointed with album sales.  "Despite growing evidence of remaining friction between the members," the band continued to tour in the early 2010s. They headlined the 10th Annual Honda Civic Tour in North America from in 2011, and toured Europe in 2012. The band left Interscope Records that October, and subsequently released Dogs Eating Dogs, an EP, in December 2012. The trio toured Australia in 2013; Brooks Wackerman replaced Barker on drums as Barker was unwilling to fly after his plane crash. These dates were followed with a small North American tour, and a series of shows celebrating the tenth anniversary of the band's self-titled album that November. The band played a European tour in August 2014, culminating in them headlining the Reading and Leeds Festivals; it was the band's fourth appearance at the festival and second headlining slot.  The reunion of the band has been characterized as dysfunctional by both Barker and DeLonge. Hoppus commented on this era of the band in a later interview: "Everything was always very contentious. There was always just a strange vibe. [...] I knew there was something wrong." In his memoir, Can I Say, Barker claims DeLonge's behavior on tour was "introverted" until "money started coming in," after which "he'd get excited about Blink." He states DeLonge abruptly quit sometime in mid-2014, and rejoined the following day. The group planned to begin writing their seventh album in January 2015, which had continually seen delays. "I'd do interviews and I just felt awful for fans because they were promised albums for years and we couldn't do it," Barker later said. A record deal was finalized and sessions were booked before DeLonge's manager informed the band he intended to spend more time on "non-musical activities" and indefinitely depart the group. In his own statement, DeLonge remarked that he "Never planned on quitting, just find it hard as hell to commit." After these events, Barker summarized the band's reunion: "Why Blink even got back together in the first place is questionable." CANNOTANSWER

Question: What kind of songs did Blink-182 play?
Answer: CANNOTANSWER
Blink-182

Context: Eventually, the band appeared for the first time on stage together in nearly five years as presenters at the February 2009 Grammy Awards, announcing their reunion. The trio embarked on a reunion tour of North America from July to October 2009, with a European trek following from August to September 2010. The recording process for Neighborhoods, the band's sixth studio album, was stalled by its studio autonomy, tours, managers, and personal projects. DeLonge recorded at his studio in San Diego while Hoppus and Barker recorded in Los Angeles--an extension of their strained communication. The self-produced album--their first without producer Jerry Finn--was released in September 2011 and peaked at number two on the Billboard 200. Its singles--"Up All Night" and "After Midnight"--only attracted modest chart success, and label Interscope was reportedly disappointed with album sales.  "Despite growing evidence of remaining friction between the members," the band continued to tour in the early 2010s. They headlined the 10th Annual Honda Civic Tour in North America from in 2011, and toured Europe in 2012. The band left Interscope Records that October, and subsequently released Dogs Eating Dogs, an EP, in December 2012. The trio toured Australia in 2013; Brooks Wackerman replaced Barker on drums as Barker was unwilling to fly after his plane crash. These dates were followed with a small North American tour, and a series of shows celebrating the tenth anniversary of the band's self-titled album that November. The band played a European tour in August 2014, culminating in them headlining the Reading and Leeds Festivals; it was the band's fourth appearance at the festival and second headlining slot.  The reunion of the band has been characterized as dysfunctional by both Barker and DeLonge. Hoppus commented on this era of the band in a later interview: "Everything was always very contentious. There was always just a strange vibe. [...] I knew there was something wrong." In his memoir, Can I Say, Barker claims DeLonge's behavior on tour was "introverted" until "money started coming in," after which "he'd get excited about Blink." He states DeLonge abruptly quit sometime in mid-2014, and rejoined the following day. The group planned to begin writing their seventh album in January 2015, which had continually seen delays. "I'd do interviews and I just felt awful for fans because they were promised albums for years and we couldn't do it," Barker later said. A record deal was finalized and sessions were booked before DeLonge's manager informed the band he intended to spend more time on "non-musical activities" and indefinitely depart the group. In his own statement, DeLonge remarked that he "Never planned on quitting, just find it hard as hell to commit." After these events, Barker summarized the band's reunion: "Why Blink even got back together in the first place is questionable." CANNOTANSWER

Question: How long was Blink-182's tour?
Answer: reunion tour of North America from July to October 2009, with a European trek following
Blink-182

Context: Eventually, the band appeared for the first time on stage together in nearly five years as presenters at the February 2009 Grammy Awards, announcing their reunion. The trio embarked on a reunion tour of North America from July to October 2009, with a European trek following from August to September 2010. The recording process for Neighborhoods, the band's sixth studio album, was stalled by its studio autonomy, tours, managers, and personal projects. DeLonge recorded at his studio in San Diego while Hoppus and Barker recorded in Los Angeles--an extension of their strained communication. The self-produced album--their first without producer Jerry Finn--was released in September 2011 and peaked at number two on the Billboard 200. Its singles--"Up All Night" and "After Midnight"--only attracted modest chart success, and label Interscope was reportedly disappointed with album sales.  "Despite growing evidence of remaining friction between the members," the band continued to tour in the early 2010s. They headlined the 10th Annual Honda Civic Tour in North America from in 2011, and toured Europe in 2012. The band left Interscope Records that October, and subsequently released Dogs Eating Dogs, an EP, in December 2012. The trio toured Australia in 2013; Brooks Wackerman replaced Barker on drums as Barker was unwilling to fly after his plane crash. These dates were followed with a small North American tour, and a series of shows celebrating the tenth anniversary of the band's self-titled album that November. The band played a European tour in August 2014, culminating in them headlining the Reading and Leeds Festivals; it was the band's fourth appearance at the festival and second headlining slot.  The reunion of the band has been characterized as dysfunctional by both Barker and DeLonge. Hoppus commented on this era of the band in a later interview: "Everything was always very contentious. There was always just a strange vibe. [...] I knew there was something wrong." In his memoir, Can I Say, Barker claims DeLonge's behavior on tour was "introverted" until "money started coming in," after which "he'd get excited about Blink." He states DeLonge abruptly quit sometime in mid-2014, and rejoined the following day. The group planned to begin writing their seventh album in January 2015, which had continually seen delays. "I'd do interviews and I just felt awful for fans because they were promised albums for years and we couldn't do it," Barker later said. A record deal was finalized and sessions were booked before DeLonge's manager informed the band he intended to spend more time on "non-musical activities" and indefinitely depart the group. In his own statement, DeLonge remarked that he "Never planned on quitting, just find it hard as hell to commit." After these events, Barker summarized the band's reunion: "Why Blink even got back together in the first place is questionable." CANNOTANSWER

Question: What did Blink-182 do after the reunion tour?
Answer: DeLonge recorded at his studio in San Diego while Hoppus and Barker recorded in Los Angeles--