gaussalgo/Canard_Wiki-augmented huggingface dataset:
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: what is juturna?
Answer: Juturna, Circa Survive's first album,
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: how many songs did Juturna have?
Answer: CANNOTANSWER
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: was the album Juturna successful?
Answer: Juturna peaked at #183 on the Billboard 200.
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: how long did Circa Survive  take to make juturna?
Answer: CANNOTANSWER
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: Besides making Juturna, is there anything else about juturna that is interesting?
Answer: The album has since gone on to be considered massively influential to the post-hardcore community.
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: what were the songs on Juturna?
Answer: Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves"
Circa Survive

Context: Juturna, Circa Survive's first album, was released on April 19, 2005, in the United States and on January 31, 2006, in Japan on Equal Vision Records. It had been initially announced via the band's MySpace page in November 2004. Details as to its sound remained vague, although the band stated they would keep their fans posted via their website, MySpace page, PureVolume page, and YouTube page. Shortly before its official release, the album was posted on their MySpace page in its entirety. Juturna peaked at #183 on the Billboard 200. The album was produced by Brian McTernan at Salad Days Studios in Baltimore.  The band drew inspiration for the album from House of Leaves and Eternal Sunshine of the Spotless Mind. During an online Q&A session on April 20, 2010, Brendan dismissed the claim that Juturna was a concept album based on Eternal Sunshine of the Spotless Mind, but did say that there is an underlying concept. That concept is speculated by fans to be vaguely about human memories. "Oh, Hello" exemplifies this with its lyrics. The decision to call the album's bonus track that appears after "Meet Me In Montauk" and the silence that follows it at 8:56, "House of Leaves" was more or less a joint one by the band and their fans. Various members of the band have stated that they have read at least some portion of the book over the years since its 2000 release.  The album's sound is characterized by its prominent utilization of effects-laden, dual guitar melodies over polyrythmic percussion. The guitarists' approach to songwriting takes on characteristics of jazz and shoegaze music. The album has since gone on to be considered massively influential to the post-hardcore community. Members of the band have recently recognized King Crimson, Bjork, Thee Silver Mt. Zion Memorial Orchestra, and Godspeed You! Black Emperor as influences on album's sound. CANNOTANSWER

Question: were Meet Me In Montauk" "and House of Leaves" successful?
Answer: CANNOTANSWER
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What was the start of Feist's career?
Answer: 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What happened to Feist?
Answer: She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones.
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What did Feist and her bandmates winning the battle of the bands lead to?
Answer: At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What Feist's next achievment after joining Broken Social Scene?
Answer: Feist was forced to take time off from music to recover from vocal cord damage.
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What year did Feist damage her vocal cords?
Answer: 1995,
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What did Feist do after recovering from vocal cord damage?
Answer: She moved from Calgary to Toronto in 1996.
Feist (singer)

Context: In 1991, at age 15, Feist got her start in music when she founded and was the lead vocalist for a Calgary punk band called Placebo (not to be confused with the English band Placebo). She and her bandmates won a local Battle of the Bands competition and were awarded the opening slot at the festival Infest 1993, featuring the Ramones. At this concert she met Brendan Canning, whose band hHead performed immediately before hers, and with whom she joined in Broken Social Scene ten years later.  In 1995, Feist was forced to take time off from music to recover from vocal cord damage. She moved from Calgary to Toronto in 1996. That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld. She played the bass guitar in Noah's Arkweld for a year despite never having played bass before. In 1998, she became the rhythm guitarist for the band By Divine Right and toured with them throughout 1998, 1999, and 2000. She also played guitar for some live performances by Bodega, but was never an official member of the band.  In 1999, Feist moved into a Queen West apartment above Come As You Are with a friend of a friend, Merrill Nisker, who then began to perform as electro-punk musician Peaches. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two also toured together in England from 2000-2001, staying with Justine Frischmann of Elastica and MIA Feist appeared as a guest vocalist on The Teaches of Peaches. Feist appears in Peaches' video for the song "Lovertits", suggestively rubbing and licking a bike. Later, Feist covered this song with Gonzales (whom she met while touring with Peaches) on her album Open Season. In 2006, Feist contributed backup vocals on a track entitled "Give 'Er", which appeared on Peaches' album Impeach My Bush. CANNOTANSWER

Question: What else happened in 1996 for Feist besides moving to Toronto?
Answer: That year she was asked by Noah Mintz of hHead to play bass in his solo project Noah's Arkweld.
Ernie Kovacs

Context: Kovacs was killed in a car accident in Los Angeles during the early morning hours of January 13, 1962. Kovacs, who had worked for much of the evening, met Adams at a baby shower given by Billy Wilder for Milton Berle and his wife, who had recently adopted a newborn baby boy. The couple left the party in separate cars. After a light southern California rainstorm, Kovacs lost control of his Chevrolet Corvair station wagon while turning quickly, and crashed into a power pole at the corner of Beverly Glen and Santa Monica Boulevards. He was thrown halfway out the passenger side, and died almost instantly from chest and head injuries.  A photographer managed to arrive moments later, and graphic images of Kovacs's dead body appeared in newspapers across the United States. An unlit cigar lay on the pavement, inches from his outstretched arm. Years later, in a documentary about Kovacs, Edie Adams described telephoning the police impatiently when she learned of the crash. An official cupped his hand over the receiver, saying to a colleague, "It's Mrs. Kovacs, he's on his way to the coroner - what should I tell her?" With that, Adams's fears were confirmed, and she became inconsolable. Jack Lemmon, who also attended the Berle party, identified Kovacs's body at the morgue because Adams was too distraught to do so.  After attending funerals for Hollywood friends, Kovacs had expressed his wishes to Adams that any funeral services for him be kept simple. In keeping with his request, Adams made arrangements for Presbyterian services at the Beverly Hills Community Presbyterian Church. The active pallbearers were Jack Lemmon, Frank Sinatra, Dean Martin, Billy Wilder, Mervyn LeRoy, and Joe Mikolas. Kovacs's father and brother, Andrew and Tom, respectively, served as honorary pallbearers. The attendees included George Burns, Groucho Marx, Edward G. Robinson, Kirk Douglas, Jack Benny, James Stewart, Charlton Heston, Buster Keaton and Milton Berle. There was no typical Hollywood-type eulogy, but the church's pastor paid tribute to Kovacs, adding that he once summed up his life in two sentences: "I was born in Trenton, New Jersey in 1919 to a Hungarian couple. I've been smoking cigars ever since."  Kovacs is buried in Forest Lawn-Hollywood Hills Cemetery in Los Angeles. His epitaph reads, "Nothing in moderation--We all loved him." Only one of Kovacs's three children survives: his eldest, Elizabeth, from his first marriage. Kippie, his second daughter, died on July 28, 2001 at the age of 52, after a long illness and a lifetime of poor health. Kippie and her husband, Bill Lancaster (1947-1997), a screenwriter and the son of actor Burt Lancaster, are the parents of Kovacs's only grandchild, Keigh Lancaster. His only child with Edie Adams, Mia (1959-1982), was killed on May 8, 1982, also in an automobile accident. Her gravestone reads "Daddy's little girl. We all loved her, too". Mia and Kippie are buried close to their father; when Edie died in 2008, she was buried between Mia and Kippie. CANNOTANSWER

Question: Was Ernie Kovacs under the influence of anything at the time of the car accident?
Answer: CANNOTANSWER
Ernie Kovacs

Context: Kovacs was killed in a car accident in Los Angeles during the early morning hours of January 13, 1962. Kovacs, who had worked for much of the evening, met Adams at a baby shower given by Billy Wilder for Milton Berle and his wife, who had recently adopted a newborn baby boy. The couple left the party in separate cars. After a light southern California rainstorm, Kovacs lost control of his Chevrolet Corvair station wagon while turning quickly, and crashed into a power pole at the corner of Beverly Glen and Santa Monica Boulevards. He was thrown halfway out the passenger side, and died almost instantly from chest and head injuries.  A photographer managed to arrive moments later, and graphic images of Kovacs's dead body appeared in newspapers across the United States. An unlit cigar lay on the pavement, inches from his outstretched arm. Years later, in a documentary about Kovacs, Edie Adams described telephoning the police impatiently when she learned of the crash. An official cupped his hand over the receiver, saying to a colleague, "It's Mrs. Kovacs, he's on his way to the coroner - what should I tell her?" With that, Adams's fears were confirmed, and she became inconsolable. Jack Lemmon, who also attended the Berle party, identified Kovacs's body at the morgue because Adams was too distraught to do so.  After attending funerals for Hollywood friends, Kovacs had expressed his wishes to Adams that any funeral services for him be kept simple. In keeping with his request, Adams made arrangements for Presbyterian services at the Beverly Hills Community Presbyterian Church. The active pallbearers were Jack Lemmon, Frank Sinatra, Dean Martin, Billy Wilder, Mervyn LeRoy, and Joe Mikolas. Kovacs's father and brother, Andrew and Tom, respectively, served as honorary pallbearers. The attendees included George Burns, Groucho Marx, Edward G. Robinson, Kirk Douglas, Jack Benny, James Stewart, Charlton Heston, Buster Keaton and Milton Berle. There was no typical Hollywood-type eulogy, but the church's pastor paid tribute to Kovacs, adding that he once summed up his life in two sentences: "I was born in Trenton, New Jersey in 1919 to a Hungarian couple. I've been smoking cigars ever since."  Kovacs is buried in Forest Lawn-Hollywood Hills Cemetery in Los Angeles. His epitaph reads, "Nothing in moderation--We all loved him." Only one of Kovacs's three children survives: his eldest, Elizabeth, from his first marriage. Kippie, his second daughter, died on July 28, 2001 at the age of 52, after a long illness and a lifetime of poor health. Kippie and her husband, Bill Lancaster (1947-1997), a screenwriter and the son of actor Burt Lancaster, are the parents of Kovacs's only grandchild, Keigh Lancaster. His only child with Edie Adams, Mia (1959-1982), was killed on May 8, 1982, also in an automobile accident. Her gravestone reads "Daddy's little girl. We all loved her, too". Mia and Kippie are buried close to their father; when Edie died in 2008, she was buried between Mia and Kippie. CANNOTANSWER

Question: How old was Ernie Kovacs when he died?
Answer: CANNOTANSWER
Ernie Kovacs

Context: Kovacs was killed in a car accident in Los Angeles during the early morning hours of January 13, 1962. Kovacs, who had worked for much of the evening, met Adams at a baby shower given by Billy Wilder for Milton Berle and his wife, who had recently adopted a newborn baby boy. The couple left the party in separate cars. After a light southern California rainstorm, Kovacs lost control of his Chevrolet Corvair station wagon while turning quickly, and crashed into a power pole at the corner of Beverly Glen and Santa Monica Boulevards. He was thrown halfway out the passenger side, and died almost instantly from chest and head injuries.  A photographer managed to arrive moments later, and graphic images of Kovacs's dead body appeared in newspapers across the United States. An unlit cigar lay on the pavement, inches from his outstretched arm. Years later, in a documentary about Kovacs, Edie Adams described telephoning the police impatiently when she learned of the crash. An official cupped his hand over the receiver, saying to a colleague, "It's Mrs. Kovacs, he's on his way to the coroner - what should I tell her?" With that, Adams's fears were confirmed, and she became inconsolable. Jack Lemmon, who also attended the Berle party, identified Kovacs's body at the morgue because Adams was too distraught to do so.  After attending funerals for Hollywood friends, Kovacs had expressed his wishes to Adams that any funeral services for him be kept simple. In keeping with his request, Adams made arrangements for Presbyterian services at the Beverly Hills Community Presbyterian Church. The active pallbearers were Jack Lemmon, Frank Sinatra, Dean Martin, Billy Wilder, Mervyn LeRoy, and Joe Mikolas. Kovacs's father and brother, Andrew and Tom, respectively, served as honorary pallbearers. The attendees included George Burns, Groucho Marx, Edward G. Robinson, Kirk Douglas, Jack Benny, James Stewart, Charlton Heston, Buster Keaton and Milton Berle. There was no typical Hollywood-type eulogy, but the church's pastor paid tribute to Kovacs, adding that he once summed up his life in two sentences: "I was born in Trenton, New Jersey in 1919 to a Hungarian couple. I've been smoking cigars ever since."  Kovacs is buried in Forest Lawn-Hollywood Hills Cemetery in Los Angeles. His epitaph reads, "Nothing in moderation--We all loved him." Only one of Kovacs's three children survives: his eldest, Elizabeth, from his first marriage. Kippie, his second daughter, died on July 28, 2001 at the age of 52, after a long illness and a lifetime of poor health. Kippie and her husband, Bill Lancaster (1947-1997), a screenwriter and the son of actor Burt Lancaster, are the parents of Kovacs's only grandchild, Keigh Lancaster. His only child with Edie Adams, Mia (1959-1982), was killed on May 8, 1982, also in an automobile accident. Her gravestone reads "Daddy's little girl. We all loved her, too". Mia and Kippie are buried close to their father; when Edie died in 2008, she was buried between Mia and Kippie. CANNOTANSWER

Question: Was there ever a law suit about Ernie Kovacs's car accident?
Answer: CANNOTANSWER
Sam & Dave

Context: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today.  Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.  While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career. CANNOTANSWER

Question: What is Stax and early Stax singles?
Answer: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters
Sam & Dave

Context: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today.  Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.  While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career. CANNOTANSWER

Question: What did Sam & Dave make at Stax?
Answer: Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles).
Sam & Dave

Context: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today.  Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.  While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career. CANNOTANSWER

Question: What singles were produced at Stax?
Answer: ) "You Don't Know Like I Know" hit #7 R&B in 1966.
Sam & Dave

Context: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today.  Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.  While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career. CANNOTANSWER

Question: What was  Sam & Dave most popular song?
Answer: This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career.
Sam & Dave

Context: When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today.  Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.  While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career. CANNOTANSWER

Question: Did Sam & Dave ever return to gospel while at Stax?
Answer: shifted their recording style from the style of their Roulette records to a more live, more energetic gospel,