gaussalgo/Canard_Wiki-augmented huggingface dataset:
Winfield Scott

Context: From the War of 1812 until he became commanding general of the U.S. Army in 1841, Scott maintained a rivalry with Brevet Major General Edmund P. Gaines. The central issue was the question of which had seniority; should brevet ranks count, which would favor Scott, or were regular Army ranks what mattered, which would favor Gaines? Scott claimed he outranked Gaines because Scott's brevet rank of major general, dated July 25, 1814, made him senior to Gaines, whose brevet was dated August 15, 1814. Gaines argued that he should be senior; his and Scott's promotions to brigadier general, colonel, and lieutenant colonel were all issued on the same dates, but Gaines had been promoted to major while Scott was still a captain. The dispute was important to both because they realized that assignment as the Army's commanding general might be at stake.  Scott served as president of the Army's Board of Tactics in 1815, and supervised the modernization of the Army's drill regulations. He also headed a postwar officer retention board in 1815, with post-war reductions in personnel strength the overriding concern. As a result of the board's recommendations, Jacob Brown was appointed as the Army's commander with the rank of major general; Scott and Gaines were retained as brigadier generals, and Brigadier General Alexander Macomb agreed to accept reduction in rank to colonel in order to serve as the Army's chief of engineers. Scott visited Europe to study French military methods in 1815 and 1816, and translated several of the manuals from Napoleon's Army into English. Scott held command of the Division of the North beginning in 1816. He served again as president of the Board of Tactics in 1821, 1824 and 1826, and again oversaw updating of the Army's field regulations. He began command of the Eastern Department in 1825.  Scott and Gaines were passed over for the commanding general's post in 1828, following the death of Jacob Brown. Aware of the Scott/Gaines rivalry, President John Quincy Adams nominated Macomb. Scott attempted to resign, but it was not accepted. Scott again visited Europe and then resumed command of the Eastern Department in 1829. In 1830, Scott published Abstract of Infantry Tactics, Including Exercises and Manueuvres of Light-Infantry and Riflemen, for the Use of the Militia of the United States. CANNOTANSWER

Question: Did Winfield Scott get involved in politics after leaving the military?
Answer: CANNOTANSWER
Slim Pickens

Context: Pickens played B-52 pilot Major T. J. "King" Kong. in Dr. Strangelove. Stanley Kubrick cast Pickens after Peter Sellers, who played three other roles in the film, sprained his ankle and was unable to perform in the role due to having to work in the cramped cockpit set. Pickens was chosen because his accent and comic sense were perfect for the role of Kong, a cartoonishly patriotic and gung-ho B-52 commander. He was not given the script to the entire film, but only those portions in which he played a part. Three memorable scenes featuring Pickens were:  A monologue meant to steel the crew for their duty after he receives the definitive inflight order to bomb a strategic target in the USSR  Reading aloud to his crew the contents of their survival kits (possibly the first mention of condoms in a Hollywood film): After listing the contents usable for barter with Russian women (prophylactics, nylons, lipstick, etc.), as well as a .45 automatic pistol, Major Kong said, "Shoot, a fella could have a pretty good time in Big D [Dallas] with all this stuff." This line had to be looped (the reference to Dallas changed to "weekend in Vegas") after the November 22, 1963, screening for critics was cancelled due to President John F. Kennedy's assassination.  Best known of all, Pickens riding a dropped H-bomb to a certain death, whooping and waving his cowboy hat (in the manner of a rodeo performer bronc riding or bull riding), not knowing its detonation will trigger a Russian doomsday device  Pickens credited Dr. Strangelove as a turning point in his career. Previously, he was "Hey you" on sets and afterward he was addressed as "Mr. Pickens". He once said, "After Dr. Strangelove, the roles, the dressing rooms, and the checks all started gettin' bigger." Pickens said he was amazed at the difference a single movie could make. However, Pickens also said that working with Stanley Kubrick proved too difficult due to Kubrick's perfectionist style of directing with multiple takes for nearly every shot, especially with the climactic H-bomb riding scene, which was done in just over 100 takes. In the late 1970s, Pickens was offered the part of Dick Hallorann in Kubrick's adaptation of Stephen King's The Shining, but Pickens stipulated that he would appear in the film only if Kubrick was required to shoot Pickens' scenes in fewer than 100 takes. Instead, Pickens' agent showed the script to Don Schwartz, the agent of Scatman Crothers, and Crothers accepted the role. CANNOTANSWER

Question: What does Dr Strangelove refer to?
Answer: CANNOTANSWER
Slim Pickens

Context: Pickens played B-52 pilot Major T. J. "King" Kong. in Dr. Strangelove. Stanley Kubrick cast Pickens after Peter Sellers, who played three other roles in the film, sprained his ankle and was unable to perform in the role due to having to work in the cramped cockpit set. Pickens was chosen because his accent and comic sense were perfect for the role of Kong, a cartoonishly patriotic and gung-ho B-52 commander. He was not given the script to the entire film, but only those portions in which he played a part. Three memorable scenes featuring Pickens were:  A monologue meant to steel the crew for their duty after he receives the definitive inflight order to bomb a strategic target in the USSR  Reading aloud to his crew the contents of their survival kits (possibly the first mention of condoms in a Hollywood film): After listing the contents usable for barter with Russian women (prophylactics, nylons, lipstick, etc.), as well as a .45 automatic pistol, Major Kong said, "Shoot, a fella could have a pretty good time in Big D [Dallas] with all this stuff." This line had to be looped (the reference to Dallas changed to "weekend in Vegas") after the November 22, 1963, screening for critics was cancelled due to President John F. Kennedy's assassination.  Best known of all, Pickens riding a dropped H-bomb to a certain death, whooping and waving his cowboy hat (in the manner of a rodeo performer bronc riding or bull riding), not knowing its detonation will trigger a Russian doomsday device  Pickens credited Dr. Strangelove as a turning point in his career. Previously, he was "Hey you" on sets and afterward he was addressed as "Mr. Pickens". He once said, "After Dr. Strangelove, the roles, the dressing rooms, and the checks all started gettin' bigger." Pickens said he was amazed at the difference a single movie could make. However, Pickens also said that working with Stanley Kubrick proved too difficult due to Kubrick's perfectionist style of directing with multiple takes for nearly every shot, especially with the climactic H-bomb riding scene, which was done in just over 100 takes. In the late 1970s, Pickens was offered the part of Dick Hallorann in Kubrick's adaptation of Stephen King's The Shining, but Pickens stipulated that he would appear in the film only if Kubrick was required to shoot Pickens' scenes in fewer than 100 takes. Instead, Pickens' agent showed the script to Don Schwartz, the agent of Scatman Crothers, and Crothers accepted the role. CANNOTANSWER

Question: What did you find interesting about Slim Pickens in your reading?
Answer: He was not given the script to the entire film, but only those portions in which he played a part.
Slim Pickens

Context: Pickens played B-52 pilot Major T. J. "King" Kong. in Dr. Strangelove. Stanley Kubrick cast Pickens after Peter Sellers, who played three other roles in the film, sprained his ankle and was unable to perform in the role due to having to work in the cramped cockpit set. Pickens was chosen because his accent and comic sense were perfect for the role of Kong, a cartoonishly patriotic and gung-ho B-52 commander. He was not given the script to the entire film, but only those portions in which he played a part. Three memorable scenes featuring Pickens were:  A monologue meant to steel the crew for their duty after he receives the definitive inflight order to bomb a strategic target in the USSR  Reading aloud to his crew the contents of their survival kits (possibly the first mention of condoms in a Hollywood film): After listing the contents usable for barter with Russian women (prophylactics, nylons, lipstick, etc.), as well as a .45 automatic pistol, Major Kong said, "Shoot, a fella could have a pretty good time in Big D [Dallas] with all this stuff." This line had to be looped (the reference to Dallas changed to "weekend in Vegas") after the November 22, 1963, screening for critics was cancelled due to President John F. Kennedy's assassination.  Best known of all, Pickens riding a dropped H-bomb to a certain death, whooping and waving his cowboy hat (in the manner of a rodeo performer bronc riding or bull riding), not knowing its detonation will trigger a Russian doomsday device  Pickens credited Dr. Strangelove as a turning point in his career. Previously, he was "Hey you" on sets and afterward he was addressed as "Mr. Pickens". He once said, "After Dr. Strangelove, the roles, the dressing rooms, and the checks all started gettin' bigger." Pickens said he was amazed at the difference a single movie could make. However, Pickens also said that working with Stanley Kubrick proved too difficult due to Kubrick's perfectionist style of directing with multiple takes for nearly every shot, especially with the climactic H-bomb riding scene, which was done in just over 100 takes. In the late 1970s, Pickens was offered the part of Dick Hallorann in Kubrick's adaptation of Stephen King's The Shining, but Pickens stipulated that he would appear in the film only if Kubrick was required to shoot Pickens' scenes in fewer than 100 takes. Instead, Pickens' agent showed the script to Don Schwartz, the agent of Scatman Crothers, and Crothers accepted the role. CANNOTANSWER

Question: What did Slim Pickens play a part in without a script?
Answer: "King" Kong.
Slim Pickens

Context: Pickens played B-52 pilot Major T. J. "King" Kong. in Dr. Strangelove. Stanley Kubrick cast Pickens after Peter Sellers, who played three other roles in the film, sprained his ankle and was unable to perform in the role due to having to work in the cramped cockpit set. Pickens was chosen because his accent and comic sense were perfect for the role of Kong, a cartoonishly patriotic and gung-ho B-52 commander. He was not given the script to the entire film, but only those portions in which he played a part. Three memorable scenes featuring Pickens were:  A monologue meant to steel the crew for their duty after he receives the definitive inflight order to bomb a strategic target in the USSR  Reading aloud to his crew the contents of their survival kits (possibly the first mention of condoms in a Hollywood film): After listing the contents usable for barter with Russian women (prophylactics, nylons, lipstick, etc.), as well as a .45 automatic pistol, Major Kong said, "Shoot, a fella could have a pretty good time in Big D [Dallas] with all this stuff." This line had to be looped (the reference to Dallas changed to "weekend in Vegas") after the November 22, 1963, screening for critics was cancelled due to President John F. Kennedy's assassination.  Best known of all, Pickens riding a dropped H-bomb to a certain death, whooping and waving his cowboy hat (in the manner of a rodeo performer bronc riding or bull riding), not knowing its detonation will trigger a Russian doomsday device  Pickens credited Dr. Strangelove as a turning point in his career. Previously, he was "Hey you" on sets and afterward he was addressed as "Mr. Pickens". He once said, "After Dr. Strangelove, the roles, the dressing rooms, and the checks all started gettin' bigger." Pickens said he was amazed at the difference a single movie could make. However, Pickens also said that working with Stanley Kubrick proved too difficult due to Kubrick's perfectionist style of directing with multiple takes for nearly every shot, especially with the climactic H-bomb riding scene, which was done in just over 100 takes. In the late 1970s, Pickens was offered the part of Dick Hallorann in Kubrick's adaptation of Stephen King's The Shining, but Pickens stipulated that he would appear in the film only if Kubrick was required to shoot Pickens' scenes in fewer than 100 takes. Instead, Pickens' agent showed the script to Don Schwartz, the agent of Scatman Crothers, and Crothers accepted the role. CANNOTANSWER

Question: Who did Slim Pickens act with in Dr. Strangelove?
Answer: CANNOTANSWER
Slim Pickens

Context: Pickens played B-52 pilot Major T. J. "King" Kong. in Dr. Strangelove. Stanley Kubrick cast Pickens after Peter Sellers, who played three other roles in the film, sprained his ankle and was unable to perform in the role due to having to work in the cramped cockpit set. Pickens was chosen because his accent and comic sense were perfect for the role of Kong, a cartoonishly patriotic and gung-ho B-52 commander. He was not given the script to the entire film, but only those portions in which he played a part. Three memorable scenes featuring Pickens were:  A monologue meant to steel the crew for their duty after he receives the definitive inflight order to bomb a strategic target in the USSR  Reading aloud to his crew the contents of their survival kits (possibly the first mention of condoms in a Hollywood film): After listing the contents usable for barter with Russian women (prophylactics, nylons, lipstick, etc.), as well as a .45 automatic pistol, Major Kong said, "Shoot, a fella could have a pretty good time in Big D [Dallas] with all this stuff." This line had to be looped (the reference to Dallas changed to "weekend in Vegas") after the November 22, 1963, screening for critics was cancelled due to President John F. Kennedy's assassination.  Best known of all, Pickens riding a dropped H-bomb to a certain death, whooping and waving his cowboy hat (in the manner of a rodeo performer bronc riding or bull riding), not knowing its detonation will trigger a Russian doomsday device  Pickens credited Dr. Strangelove as a turning point in his career. Previously, he was "Hey you" on sets and afterward he was addressed as "Mr. Pickens". He once said, "After Dr. Strangelove, the roles, the dressing rooms, and the checks all started gettin' bigger." Pickens said he was amazed at the difference a single movie could make. However, Pickens also said that working with Stanley Kubrick proved too difficult due to Kubrick's perfectionist style of directing with multiple takes for nearly every shot, especially with the climactic H-bomb riding scene, which was done in just over 100 takes. In the late 1970s, Pickens was offered the part of Dick Hallorann in Kubrick's adaptation of Stephen King's The Shining, but Pickens stipulated that he would appear in the film only if Kubrick was required to shoot Pickens' scenes in fewer than 100 takes. Instead, Pickens' agent showed the script to Don Schwartz, the agent of Scatman Crothers, and Crothers accepted the role. CANNOTANSWER

Question: Were there other impressive happenings in Slim Pickens's life in addition to acting in Dr. Strangelove?
Answer: Best known of all, Pickens riding a dropped H-bomb to a certain death,
Slim Pickens

Context: Pickens played B-52 pilot Major T. J. "King" Kong. in Dr. Strangelove. Stanley Kubrick cast Pickens after Peter Sellers, who played three other roles in the film, sprained his ankle and was unable to perform in the role due to having to work in the cramped cockpit set. Pickens was chosen because his accent and comic sense were perfect for the role of Kong, a cartoonishly patriotic and gung-ho B-52 commander. He was not given the script to the entire film, but only those portions in which he played a part. Three memorable scenes featuring Pickens were:  A monologue meant to steel the crew for their duty after he receives the definitive inflight order to bomb a strategic target in the USSR  Reading aloud to his crew the contents of their survival kits (possibly the first mention of condoms in a Hollywood film): After listing the contents usable for barter with Russian women (prophylactics, nylons, lipstick, etc.), as well as a .45 automatic pistol, Major Kong said, "Shoot, a fella could have a pretty good time in Big D [Dallas] with all this stuff." This line had to be looped (the reference to Dallas changed to "weekend in Vegas") after the November 22, 1963, screening for critics was cancelled due to President John F. Kennedy's assassination.  Best known of all, Pickens riding a dropped H-bomb to a certain death, whooping and waving his cowboy hat (in the manner of a rodeo performer bronc riding or bull riding), not knowing its detonation will trigger a Russian doomsday device  Pickens credited Dr. Strangelove as a turning point in his career. Previously, he was "Hey you" on sets and afterward he was addressed as "Mr. Pickens". He once said, "After Dr. Strangelove, the roles, the dressing rooms, and the checks all started gettin' bigger." Pickens said he was amazed at the difference a single movie could make. However, Pickens also said that working with Stanley Kubrick proved too difficult due to Kubrick's perfectionist style of directing with multiple takes for nearly every shot, especially with the climactic H-bomb riding scene, which was done in just over 100 takes. In the late 1970s, Pickens was offered the part of Dick Hallorann in Kubrick's adaptation of Stephen King's The Shining, but Pickens stipulated that he would appear in the film only if Kubrick was required to shoot Pickens' scenes in fewer than 100 takes. Instead, Pickens' agent showed the script to Don Schwartz, the agent of Scatman Crothers, and Crothers accepted the role. CANNOTANSWER

Question: Did Slim Pickens receive any recognition for any of his work?
Answer: CANNOTANSWER
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What was Madonna's style of music?
Answer: house song with notable disco influence.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What was Madonna's composition?
Answer: the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: Are there any other interesting aspects about this article besides Madonna's vocal range ?
Answer: Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: Did Vogue hit the charts?
Answer: CANNOTANSWER
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What else happen besides Vogue hitting the charts?
Answer: the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: Which celebrities are referenced by Madonna as "golden era" Hollywood celebrities?
Answer: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean,
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: Anybody else besides Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean?
Answer: Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What else stood out in this article besides Madonna referencing Golden era celebrities?
Answer: Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What happen after ten stars were entitled to royalty payment?
Answer: Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: Did Madonna perform anywhere else besides Super Bowl XLVI?
Answer: CANNOTANSWER
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What else was Madonna known for besides Vogue?
Answer: Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself.
Vogue (Madonna song)

Context: "Vogue" is a house song with notable disco influence. The song has been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E5. Lyrically, the song has a theme of escapism, and talks about how any person can enjoy themself. In the bridge, the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.  The lyrics of the song's rap section feature the names of 16 stars from the 1920s to the 1950s. In order of mention in the lyrics, they are: Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis.  Ten of the stars mentioned in the song (namely Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, Rogers, Turner and both Kellys) were entitled to a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show in 2012 as their images were used in the 'set dressing' of the performance. At the time, Bacall was the lone living star. She died at the age of 89 in 2014. CANNOTANSWER

Question: What else was the meaning of the song Vogue besides escapism?
Answer: the song has a spoken rap section, in which Madonna references numerous "golden era" Hollywood celebrities.
Agatha Christie

Context: Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War (when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed. For example, she described "Hebraic men with hook-noses wearing rather flamboyant jewellery" in the first editions of the collection The Mysterious Mr Quin (1930), in the short story "The Soul of the Croupier"; in later editions, the passage was edited to describe "sallow men" wearing same.  In The Hollow, published as late as 1946, one of the more unsympathetic characters is "a Whitechapel Jewess with dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice". To contrast with the more stereotyped descriptions, Christie sometimes showed "foreigners" as victims or potential victims at the hands of English malefactors, such as, respectively, Olga Seminoff (Hallowe'en Party) and Katrina Reiger (in the short story "How Does Your Garden Grow?"). Jewish characters are often seen as un-English (such as Oliver Manders in Three Act Tragedy), but they are rarely the culprits.  Often, she is affectionate or teasing with her prejudices. After four years of war-torn London, Christie hoped to return some day to Syria, which she described as "gentle fertile country and its simple people, who know how to laugh and how to enjoy life; who are idle and gay, and who have dignity, good manners, and a great sense of humour, and to whom death is not terrible."  She had trouble with an incompetent Swiss French nursery helper (Marcelle) for toddler Rosalind, and as a result she decided, "Scottish preferred ... good with the young. The French were hopeless disciplinarians ... Germans good and methodical, but it was not German that I really wanted Rosalind to learn. The Irish were gay but made trouble in the house; the English were of all kinds". CANNOTANSWER

Question: What are the stereotypes involved in the Agatha Christie article?
Answer: Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War
Agatha Christie

Context: Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War (when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed. For example, she described "Hebraic men with hook-noses wearing rather flamboyant jewellery" in the first editions of the collection The Mysterious Mr Quin (1930), in the short story "The Soul of the Croupier"; in later editions, the passage was edited to describe "sallow men" wearing same.  In The Hollow, published as late as 1946, one of the more unsympathetic characters is "a Whitechapel Jewess with dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice". To contrast with the more stereotyped descriptions, Christie sometimes showed "foreigners" as victims or potential victims at the hands of English malefactors, such as, respectively, Olga Seminoff (Hallowe'en Party) and Katrina Reiger (in the short story "How Does Your Garden Grow?"). Jewish characters are often seen as un-English (such as Oliver Manders in Three Act Tragedy), but they are rarely the culprits.  Often, she is affectionate or teasing with her prejudices. After four years of war-torn London, Christie hoped to return some day to Syria, which she described as "gentle fertile country and its simple people, who know how to laugh and how to enjoy life; who are idle and gay, and who have dignity, good manners, and a great sense of humour, and to whom death is not terrible."  She had trouble with an incompetent Swiss French nursery helper (Marcelle) for toddler Rosalind, and as a result she decided, "Scottish preferred ... good with the young. The French were hopeless disciplinarians ... Germans good and methodical, but it was not German that I really wanted Rosalind to learn. The Irish were gay but made trouble in the house; the English were of all kinds". CANNOTANSWER

Question: What kind of stereotyped characters did Christie occasionally insert?
Answer: (when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed.
Agatha Christie

Context: Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War (when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed. For example, she described "Hebraic men with hook-noses wearing rather flamboyant jewellery" in the first editions of the collection The Mysterious Mr Quin (1930), in the short story "The Soul of the Croupier"; in later editions, the passage was edited to describe "sallow men" wearing same.  In The Hollow, published as late as 1946, one of the more unsympathetic characters is "a Whitechapel Jewess with dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice". To contrast with the more stereotyped descriptions, Christie sometimes showed "foreigners" as victims or potential victims at the hands of English malefactors, such as, respectively, Olga Seminoff (Hallowe'en Party) and Katrina Reiger (in the short story "How Does Your Garden Grow?"). Jewish characters are often seen as un-English (such as Oliver Manders in Three Act Tragedy), but they are rarely the culprits.  Often, she is affectionate or teasing with her prejudices. After four years of war-torn London, Christie hoped to return some day to Syria, which she described as "gentle fertile country and its simple people, who know how to laugh and how to enjoy life; who are idle and gay, and who have dignity, good manners, and a great sense of humour, and to whom death is not terrible."  She had trouble with an incompetent Swiss French nursery helper (Marcelle) for toddler Rosalind, and as a result she decided, "Scottish preferred ... good with the young. The French were hopeless disciplinarians ... Germans good and methodical, but it was not German that I really wanted Rosalind to learn. The Irish were gay but made trouble in the house; the English were of all kinds". CANNOTANSWER

Question: Are there any other interesting aspects about this article other than Agatha Christie Agatha Christie's stereotyped characters?
Answer: In The Hollow, published as late as 1946, one of the more unsympathetic characters is "a Whitechapel Jewess
Agatha Christie

Context: Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War (when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed. For example, she described "Hebraic men with hook-noses wearing rather flamboyant jewellery" in the first editions of the collection The Mysterious Mr Quin (1930), in the short story "The Soul of the Croupier"; in later editions, the passage was edited to describe "sallow men" wearing same.  In The Hollow, published as late as 1946, one of the more unsympathetic characters is "a Whitechapel Jewess with dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice". To contrast with the more stereotyped descriptions, Christie sometimes showed "foreigners" as victims or potential victims at the hands of English malefactors, such as, respectively, Olga Seminoff (Hallowe'en Party) and Katrina Reiger (in the short story "How Does Your Garden Grow?"). Jewish characters are often seen as un-English (such as Oliver Manders in Three Act Tragedy), but they are rarely the culprits.  Often, she is affectionate or teasing with her prejudices. After four years of war-torn London, Christie hoped to return some day to Syria, which she described as "gentle fertile country and its simple people, who know how to laugh and how to enjoy life; who are idle and gay, and who have dignity, good manners, and a great sense of humour, and to whom death is not terrible."  She had trouble with an incompetent Swiss French nursery helper (Marcelle) for toddler Rosalind, and as a result she decided, "Scottish preferred ... good with the young. The French were hopeless disciplinarians ... Germans good and methodical, but it was not German that I really wanted Rosalind to learn. The Irish were gay but made trouble in the house; the English were of all kinds". CANNOTANSWER

Question: Why is  "a Whitechapel Jewess" an unsympathetic character?
Answer: dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice".