gaussalgo/Canard_Wiki-augmented huggingface dataset:
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: What was the Janet Jackson album Control about?
Answer: Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio,
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: Should we call Control an album or what?
Answer: The album spawned five top five singles,
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: Which of the singles on the Janet Jackson album Control was a hit?
Answer: What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: Which other work of Janet Jackson was mentioned, aside from Control?
Answer: and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards,
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: Did Janet Jackson win any award or recognition?
Answer: Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year".
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: Besides Janet Jackson receiving six Billboard Awards for Control, Are there any other interesting aspects about this article?
Answer: The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: Besides Paula Abdul, Which other names were mentioned in Janet Jackson's music career?
Answer: Paula Abdul a recording contract for her choreography work with Jackson.
Janet Jackson

Context: After her second album, Jackson terminated business affairs with her family, commenting "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do." Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. The album shot to No. 1 on the Billboard 200, and was certified fivefold platinum by the Recording Industry Association of America (RIAA), selling over ten million copies worldwide.  Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to Donna Summer's position of "unwilling to accept novelty status and taking her own steps to rise above it." The album spawned five top five singles, "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and a top 15 hit with "The Pleasure Principle". "When I Think of You" became her first No. 1 hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, most notably "Album of the Year". It also won four American Music Awards from twelve nominations, an unbroken record.  At this point, Jackson was successfully "shaking off the experience of being a shadow Jackson child", becoming "an artist in her own right".. The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment, with Jackson recalling "the danger hit home when a couple of guys started stalking me on the street and Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."  Its innovative fusion of dance-pop and industrial music with hip-hop and R&B undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album's singles became popular on MTV, and obtained a then-unknown Paula Abdul a recording contract for her choreography work with Jackson. Billboard stated "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." CANNOTANSWER

Question: What was Paula Abdul's role in Janet Jackson's career?
Answer: Jackson teamed with producers Jimmy Jam and Terry Lewis.
Harry Partch

Context: Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.  In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation.  In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953.  After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California. CANNOTANSWER

Question: What did Harry Partch teach?
Answer: This was a productive period, in which he lectured, trained an ensemble, staged performances,
Harry Partch

Context: Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.  In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation.  In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953.  After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California. CANNOTANSWER

Question: How many instruments did Harry Partch have?
Answer: CANNOTANSWER
Camille Saint-Saëns

Context: On leaving the Conservatoire in 1853, Saint-Saens accepted the post of organist at the ancient Parisian church of Saint-Merri near the Hotel de Ville. The parish was substantial, with 26,000 parishioners; in a typical year there were more than two hundred weddings, the organist's fees from which, together with fees for funerals and his modest basic stipend, gave Saint-Saens a comfortable income. The organ, the work of Francois-Henri Clicquot, had been badly damaged in the aftermath of the French Revolution and imperfectly restored. The instrument was adequate for church services but not for the ambitious recitals that many high-profile Parisian churches offered. With enough spare time to pursue his career as a pianist and composer, Saint-Saens composed what became his opus 2, the Symphony in E (1853). This work, with military fanfares and augmented brass and percussion sections, caught the mood of the times in the wake of the popular rise to power of Napoleon III and the restoration of the French Empire. The work brought the composer another first prize from the Societe Sainte-Cecile.  Among the musicians who were quick to spot Saint-Saens's talent were the composers Gioachino Rossini, Hector Berlioz and Franz Liszt, and the influential singer Pauline Viardot, who all encouraged him in his career. In early 1858 Saint-Saens moved from Saint-Merri to the high-profile post of organist of La Madeleine, the official church of the Empire; Liszt heard him playing there and declared him the greatest organist in the world.  Although in later life he had a reputation for outspoken musical conservatism, in the 1850s Saint-Saens supported and promoted the most modern music of the day, including that of Liszt, Robert Schumann and Richard Wagner. Unlike many French composers of his own and the next generation, Saint-Saens, for all his enthusiasm for and knowledge of Wagner's operas, was not influenced by him in his own compositions. He commented, "I admire deeply the works of Richard Wagner in spite of their bizarre character. They are superior and powerful, and that is sufficient for me. But I am not, I have never been, and I shall never be of the Wagnerian religion." CANNOTANSWER

Question: Where did Camille Saint-Saëns begin his early career?
Answer: On leaving the Conservatoire in 1853, Saint-Saens accepted the post of organist at the ancient Parisian church of Saint-Merri near the Hotel de Ville.
Camille Saint-Saëns

Context: On leaving the Conservatoire in 1853, Saint-Saens accepted the post of organist at the ancient Parisian church of Saint-Merri near the Hotel de Ville. The parish was substantial, with 26,000 parishioners; in a typical year there were more than two hundred weddings, the organist's fees from which, together with fees for funerals and his modest basic stipend, gave Saint-Saens a comfortable income. The organ, the work of Francois-Henri Clicquot, had been badly damaged in the aftermath of the French Revolution and imperfectly restored. The instrument was adequate for church services but not for the ambitious recitals that many high-profile Parisian churches offered. With enough spare time to pursue his career as a pianist and composer, Saint-Saens composed what became his opus 2, the Symphony in E (1853). This work, with military fanfares and augmented brass and percussion sections, caught the mood of the times in the wake of the popular rise to power of Napoleon III and the restoration of the French Empire. The work brought the composer another first prize from the Societe Sainte-Cecile.  Among the musicians who were quick to spot Saint-Saens's talent were the composers Gioachino Rossini, Hector Berlioz and Franz Liszt, and the influential singer Pauline Viardot, who all encouraged him in his career. In early 1858 Saint-Saens moved from Saint-Merri to the high-profile post of organist of La Madeleine, the official church of the Empire; Liszt heard him playing there and declared him the greatest organist in the world.  Although in later life he had a reputation for outspoken musical conservatism, in the 1850s Saint-Saens supported and promoted the most modern music of the day, including that of Liszt, Robert Schumann and Richard Wagner. Unlike many French composers of his own and the next generation, Saint-Saens, for all his enthusiasm for and knowledge of Wagner's operas, was not influenced by him in his own compositions. He commented, "I admire deeply the works of Richard Wagner in spite of their bizarre character. They are superior and powerful, and that is sufficient for me. But I am not, I have never been, and I shall never be of the Wagnerian religion." CANNOTANSWER

Question: How long did Camille Saint-Saëns hold the organist position?
Answer: CANNOTANSWER
Camille Saint-Saëns

Context: On leaving the Conservatoire in 1853, Saint-Saens accepted the post of organist at the ancient Parisian church of Saint-Merri near the Hotel de Ville. The parish was substantial, with 26,000 parishioners; in a typical year there were more than two hundred weddings, the organist's fees from which, together with fees for funerals and his modest basic stipend, gave Saint-Saens a comfortable income. The organ, the work of Francois-Henri Clicquot, had been badly damaged in the aftermath of the French Revolution and imperfectly restored. The instrument was adequate for church services but not for the ambitious recitals that many high-profile Parisian churches offered. With enough spare time to pursue his career as a pianist and composer, Saint-Saens composed what became his opus 2, the Symphony in E (1853). This work, with military fanfares and augmented brass and percussion sections, caught the mood of the times in the wake of the popular rise to power of Napoleon III and the restoration of the French Empire. The work brought the composer another first prize from the Societe Sainte-Cecile.  Among the musicians who were quick to spot Saint-Saens's talent were the composers Gioachino Rossini, Hector Berlioz and Franz Liszt, and the influential singer Pauline Viardot, who all encouraged him in his career. In early 1858 Saint-Saens moved from Saint-Merri to the high-profile post of organist of La Madeleine, the official church of the Empire; Liszt heard him playing there and declared him the greatest organist in the world.  Although in later life he had a reputation for outspoken musical conservatism, in the 1850s Saint-Saens supported and promoted the most modern music of the day, including that of Liszt, Robert Schumann and Richard Wagner. Unlike many French composers of his own and the next generation, Saint-Saens, for all his enthusiasm for and knowledge of Wagner's operas, was not influenced by him in his own compositions. He commented, "I admire deeply the works of Richard Wagner in spite of their bizarre character. They are superior and powerful, and that is sufficient for me. But I am not, I have never been, and I shall never be of the Wagnerian religion." CANNOTANSWER

Question: What else did Camille Saint-Saëns do aside from the organist position?
Answer: Although in later life he had a reputation for outspoken musical conservatism, in the 1850s Saint-Saens supported and promoted the most modern music of the day,
Camille Saint-Saëns

Context: On leaving the Conservatoire in 1853, Saint-Saens accepted the post of organist at the ancient Parisian church of Saint-Merri near the Hotel de Ville. The parish was substantial, with 26,000 parishioners; in a typical year there were more than two hundred weddings, the organist's fees from which, together with fees for funerals and his modest basic stipend, gave Saint-Saens a comfortable income. The organ, the work of Francois-Henri Clicquot, had been badly damaged in the aftermath of the French Revolution and imperfectly restored. The instrument was adequate for church services but not for the ambitious recitals that many high-profile Parisian churches offered. With enough spare time to pursue his career as a pianist and composer, Saint-Saens composed what became his opus 2, the Symphony in E (1853). This work, with military fanfares and augmented brass and percussion sections, caught the mood of the times in the wake of the popular rise to power of Napoleon III and the restoration of the French Empire. The work brought the composer another first prize from the Societe Sainte-Cecile.  Among the musicians who were quick to spot Saint-Saens's talent were the composers Gioachino Rossini, Hector Berlioz and Franz Liszt, and the influential singer Pauline Viardot, who all encouraged him in his career. In early 1858 Saint-Saens moved from Saint-Merri to the high-profile post of organist of La Madeleine, the official church of the Empire; Liszt heard him playing there and declared him the greatest organist in the world.  Although in later life he had a reputation for outspoken musical conservatism, in the 1850s Saint-Saens supported and promoted the most modern music of the day, including that of Liszt, Robert Schumann and Richard Wagner. Unlike many French composers of his own and the next generation, Saint-Saens, for all his enthusiasm for and knowledge of Wagner's operas, was not influenced by him in his own compositions. He commented, "I admire deeply the works of Richard Wagner in spite of their bizarre character. They are superior and powerful, and that is sufficient for me. But I am not, I have never been, and I shall never be of the Wagnerian religion." CANNOTANSWER

Question: Was Camille Saint-Saëns popular?
Answer: CANNOTANSWER
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: what is the history of Jumbo?
Answer: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff.
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: What other than Jumbo's history are in this article?
Answer: the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes.
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: why was Jumbo imported to France?
Answer: CANNOTANSWER
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: what was Jumbo's best show?
Answer: In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal.