gaussalgo/Canard_Wiki-augmented huggingface dataset:
Top of the Pops

Context: From 1967, the show had become closely associated with the BBC radio station Radio 1, usually being presented by DJs from the station, and between 1988 and 1991 the programme was simulcast on the radio station in FM stereo. However, during the last few years of the 1980s the association became less close, and was severed completely (although not permanently) in a radical shake-up known as the 'Year Zero' revamp.  Following a fall in viewing figures and a general perception that the show had become 'uncool' (acts like The Clash had refused to appear in the show in previous years), a radical new format was introduced by incoming executive producer Stanley Appel (who had worked on the programme since 1966 as cameraman, production assistant, director and stand-in producer) in October 1991, in which the Radio 1 DJs were replaced by a team of relative unknowns, such as Claudia Simon and Tony Dortie who had previously worked for Children's BBC, 17-year-old local radio DJ Mark Franklin, Steve Anderson, Adrian Rose and Elayne Smith, who was replaced by Femi Oke in 1992. A brand new theme tune ('Now Get Out Of That'), title sequence and logo were introduced, and the entire programme moved from BBC Television Centre in London to BBC Elstree Centre in Borehamwood.  The new presenting team would take turns hosting (initially usually in pairs but sometimes solo), and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction. They would sometimes even conduct short informal interviews with the performers, and initially the Top 10 countdown was run without any voiceover. Rules relating to performance were also altered meaning acts had to sing live as opposed to the backing tracks for instruments and mimed vocals for which the show was known. To incorporate the shift of dominance towards American artists, more use was made of out-of-studio performances, with acts in America able to transmit their song to the Top of the Pops audience "via satellite". These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin (apart from the Christmas Day editions, when both presenters appeared) from October 1992, on a week-by-week rotation. CANNOTANSWER

Question: Other than some memebers of the Year Zero were replaced, what other interesting things did you find in this article?
Answer: The new presenting team would take turns hosting (initially usually in pairs but sometimes solo), and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction.
Top of the Pops

Context: From 1967, the show had become closely associated with the BBC radio station Radio 1, usually being presented by DJs from the station, and between 1988 and 1991 the programme was simulcast on the radio station in FM stereo. However, during the last few years of the 1980s the association became less close, and was severed completely (although not permanently) in a radical shake-up known as the 'Year Zero' revamp.  Following a fall in viewing figures and a general perception that the show had become 'uncool' (acts like The Clash had refused to appear in the show in previous years), a radical new format was introduced by incoming executive producer Stanley Appel (who had worked on the programme since 1966 as cameraman, production assistant, director and stand-in producer) in October 1991, in which the Radio 1 DJs were replaced by a team of relative unknowns, such as Claudia Simon and Tony Dortie who had previously worked for Children's BBC, 17-year-old local radio DJ Mark Franklin, Steve Anderson, Adrian Rose and Elayne Smith, who was replaced by Femi Oke in 1992. A brand new theme tune ('Now Get Out Of That'), title sequence and logo were introduced, and the entire programme moved from BBC Television Centre in London to BBC Elstree Centre in Borehamwood.  The new presenting team would take turns hosting (initially usually in pairs but sometimes solo), and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction. They would sometimes even conduct short informal interviews with the performers, and initially the Top 10 countdown was run without any voiceover. Rules relating to performance were also altered meaning acts had to sing live as opposed to the backing tracks for instruments and mimed vocals for which the show was known. To incorporate the shift of dominance towards American artists, more use was made of out-of-studio performances, with acts in America able to transmit their song to the Top of the Pops audience "via satellite". These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin (apart from the Christmas Day editions, when both presenters appeared) from October 1992, on a week-by-week rotation. CANNOTANSWER

Question: Were the members of the Year Zero  team well received?
Answer: These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin
Top of the Pops

Context: From 1967, the show had become closely associated with the BBC radio station Radio 1, usually being presented by DJs from the station, and between 1988 and 1991 the programme was simulcast on the radio station in FM stereo. However, during the last few years of the 1980s the association became less close, and was severed completely (although not permanently) in a radical shake-up known as the 'Year Zero' revamp.  Following a fall in viewing figures and a general perception that the show had become 'uncool' (acts like The Clash had refused to appear in the show in previous years), a radical new format was introduced by incoming executive producer Stanley Appel (who had worked on the programme since 1966 as cameraman, production assistant, director and stand-in producer) in October 1991, in which the Radio 1 DJs were replaced by a team of relative unknowns, such as Claudia Simon and Tony Dortie who had previously worked for Children's BBC, 17-year-old local radio DJ Mark Franklin, Steve Anderson, Adrian Rose and Elayne Smith, who was replaced by Femi Oke in 1992. A brand new theme tune ('Now Get Out Of That'), title sequence and logo were introduced, and the entire programme moved from BBC Television Centre in London to BBC Elstree Centre in Borehamwood.  The new presenting team would take turns hosting (initially usually in pairs but sometimes solo), and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction. They would sometimes even conduct short informal interviews with the performers, and initially the Top 10 countdown was run without any voiceover. Rules relating to performance were also altered meaning acts had to sing live as opposed to the backing tracks for instruments and mimed vocals for which the show was known. To incorporate the shift of dominance towards American artists, more use was made of out-of-studio performances, with acts in America able to transmit their song to the Top of the Pops audience "via satellite". These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin (apart from the Christmas Day editions, when both presenters appeared) from October 1992, on a week-by-week rotation. CANNOTANSWER

Question: Was the Year Zero revamp eventually cancelled?
Answer: CANNOTANSWER
Top of the Pops

Context: From 1967, the show had become closely associated with the BBC radio station Radio 1, usually being presented by DJs from the station, and between 1988 and 1991 the programme was simulcast on the radio station in FM stereo. However, during the last few years of the 1980s the association became less close, and was severed completely (although not permanently) in a radical shake-up known as the 'Year Zero' revamp.  Following a fall in viewing figures and a general perception that the show had become 'uncool' (acts like The Clash had refused to appear in the show in previous years), a radical new format was introduced by incoming executive producer Stanley Appel (who had worked on the programme since 1966 as cameraman, production assistant, director and stand-in producer) in October 1991, in which the Radio 1 DJs were replaced by a team of relative unknowns, such as Claudia Simon and Tony Dortie who had previously worked for Children's BBC, 17-year-old local radio DJ Mark Franklin, Steve Anderson, Adrian Rose and Elayne Smith, who was replaced by Femi Oke in 1992. A brand new theme tune ('Now Get Out Of That'), title sequence and logo were introduced, and the entire programme moved from BBC Television Centre in London to BBC Elstree Centre in Borehamwood.  The new presenting team would take turns hosting (initially usually in pairs but sometimes solo), and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction. They would sometimes even conduct short informal interviews with the performers, and initially the Top 10 countdown was run without any voiceover. Rules relating to performance were also altered meaning acts had to sing live as opposed to the backing tracks for instruments and mimed vocals for which the show was known. To incorporate the shift of dominance towards American artists, more use was made of out-of-studio performances, with acts in America able to transmit their song to the Top of the Pops audience "via satellite". These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin (apart from the Christmas Day editions, when both presenters appeared) from October 1992, on a week-by-week rotation. CANNOTANSWER

Question: What did the axed members from the Year Zero revamp do after being removed?
Answer: CANNOTANSWER
Elton Wieman

Context: In 1915, Wieman enrolled at Michigan. Wieman worked nights to pay for his expenses and studied into the morning to keep up with his classes.  Though he had only played rugby football before coming to Michigan, Wieman played on Michigan's freshman football team. Wieman's hometown newspaper, the Los Angeles Times, followed his progress, reporting in October 1915 that he was "making quite a reputation for himself as tackle on the freshman eleven" and noting that "Coach Yost seems to be quite pleased with his work." As Wieman progressed, the Times ran a feature story reporting that "the big, raw-boned freshman from Southern California" was stopping Michigan's top varsity players, including All-American John Maulbetsch, and leaving them piled up "in a squirming heap." Coach Yost was reported to have bawled many varsity players for their inability to get past Wieman, with Maulbetsch complaining, "It can't be done, coach." Each night, the varsity players reportedly swore to get Wieman, but never did. Wieman reportedly took the punishment and came up from under the pile each time smiling. Wieman also demonstrated his talent on offense:  "He is used by the freshmen on end-around plays. He has a peculiar way of running with a loose hitch in his hips that shakes off tacklers. He also handles the ball well and is the best man at catching forward passes among the freshmen. Wieman gives Rugby (the English game he played in California) and basketball the credit for his ability to catch the ball. On punts he is generally waiting for his man to catch the ball."  If it were not for the ban on freshmen play, the Times concluded there was no doubt that he would be playing on the varsity team. CANNOTANSWER

Question: where did Elton Wieman go to school?
Answer: Wieman enrolled at Michigan.
Elton Wieman

Context: In 1915, Wieman enrolled at Michigan. Wieman worked nights to pay for his expenses and studied into the morning to keep up with his classes.  Though he had only played rugby football before coming to Michigan, Wieman played on Michigan's freshman football team. Wieman's hometown newspaper, the Los Angeles Times, followed his progress, reporting in October 1915 that he was "making quite a reputation for himself as tackle on the freshman eleven" and noting that "Coach Yost seems to be quite pleased with his work." As Wieman progressed, the Times ran a feature story reporting that "the big, raw-boned freshman from Southern California" was stopping Michigan's top varsity players, including All-American John Maulbetsch, and leaving them piled up "in a squirming heap." Coach Yost was reported to have bawled many varsity players for their inability to get past Wieman, with Maulbetsch complaining, "It can't be done, coach." Each night, the varsity players reportedly swore to get Wieman, but never did. Wieman reportedly took the punishment and came up from under the pile each time smiling. Wieman also demonstrated his talent on offense:  "He is used by the freshmen on end-around plays. He has a peculiar way of running with a loose hitch in his hips that shakes off tacklers. He also handles the ball well and is the best man at catching forward passes among the freshmen. Wieman gives Rugby (the English game he played in California) and basketball the credit for his ability to catch the ball. On punts he is generally waiting for his man to catch the ball."  If it were not for the ban on freshmen play, the Times concluded there was no doubt that he would be playing on the varsity team. CANNOTANSWER

Question: did Elton Wieman play on the football team
Answer: Wieman played on Michigan's freshman football team.
Elton Wieman

Context: In 1915, Wieman enrolled at Michigan. Wieman worked nights to pay for his expenses and studied into the morning to keep up with his classes.  Though he had only played rugby football before coming to Michigan, Wieman played on Michigan's freshman football team. Wieman's hometown newspaper, the Los Angeles Times, followed his progress, reporting in October 1915 that he was "making quite a reputation for himself as tackle on the freshman eleven" and noting that "Coach Yost seems to be quite pleased with his work." As Wieman progressed, the Times ran a feature story reporting that "the big, raw-boned freshman from Southern California" was stopping Michigan's top varsity players, including All-American John Maulbetsch, and leaving them piled up "in a squirming heap." Coach Yost was reported to have bawled many varsity players for their inability to get past Wieman, with Maulbetsch complaining, "It can't be done, coach." Each night, the varsity players reportedly swore to get Wieman, but never did. Wieman reportedly took the punishment and came up from under the pile each time smiling. Wieman also demonstrated his talent on offense:  "He is used by the freshmen on end-around plays. He has a peculiar way of running with a loose hitch in his hips that shakes off tacklers. He also handles the ball well and is the best man at catching forward passes among the freshmen. Wieman gives Rugby (the English game he played in California) and basketball the credit for his ability to catch the ball. On punts he is generally waiting for his man to catch the ball."  If it were not for the ban on freshmen play, the Times concluded there was no doubt that he would be playing on the varsity team. CANNOTANSWER

Question: Other than football what other sport did Elton Wieman play?
Answer: Though he had only played rugby football before coming to Michigan,
Elton Wieman

Context: In 1915, Wieman enrolled at Michigan. Wieman worked nights to pay for his expenses and studied into the morning to keep up with his classes.  Though he had only played rugby football before coming to Michigan, Wieman played on Michigan's freshman football team. Wieman's hometown newspaper, the Los Angeles Times, followed his progress, reporting in October 1915 that he was "making quite a reputation for himself as tackle on the freshman eleven" and noting that "Coach Yost seems to be quite pleased with his work." As Wieman progressed, the Times ran a feature story reporting that "the big, raw-boned freshman from Southern California" was stopping Michigan's top varsity players, including All-American John Maulbetsch, and leaving them piled up "in a squirming heap." Coach Yost was reported to have bawled many varsity players for their inability to get past Wieman, with Maulbetsch complaining, "It can't be done, coach." Each night, the varsity players reportedly swore to get Wieman, but never did. Wieman reportedly took the punishment and came up from under the pile each time smiling. Wieman also demonstrated his talent on offense:  "He is used by the freshmen on end-around plays. He has a peculiar way of running with a loose hitch in his hips that shakes off tacklers. He also handles the ball well and is the best man at catching forward passes among the freshmen. Wieman gives Rugby (the English game he played in California) and basketball the credit for his ability to catch the ball. On punts he is generally waiting for his man to catch the ball."  If it were not for the ban on freshmen play, the Times concluded there was no doubt that he would be playing on the varsity team. CANNOTANSWER

Question: who followed Elton Wieman's progress?
Answer: the Los Angeles Times, followed his progress,
Elton Wieman

Context: In 1915, Wieman enrolled at Michigan. Wieman worked nights to pay for his expenses and studied into the morning to keep up with his classes.  Though he had only played rugby football before coming to Michigan, Wieman played on Michigan's freshman football team. Wieman's hometown newspaper, the Los Angeles Times, followed his progress, reporting in October 1915 that he was "making quite a reputation for himself as tackle on the freshman eleven" and noting that "Coach Yost seems to be quite pleased with his work." As Wieman progressed, the Times ran a feature story reporting that "the big, raw-boned freshman from Southern California" was stopping Michigan's top varsity players, including All-American John Maulbetsch, and leaving them piled up "in a squirming heap." Coach Yost was reported to have bawled many varsity players for their inability to get past Wieman, with Maulbetsch complaining, "It can't be done, coach." Each night, the varsity players reportedly swore to get Wieman, but never did. Wieman reportedly took the punishment and came up from under the pile each time smiling. Wieman also demonstrated his talent on offense:  "He is used by the freshmen on end-around plays. He has a peculiar way of running with a loose hitch in his hips that shakes off tacklers. He also handles the ball well and is the best man at catching forward passes among the freshmen. Wieman gives Rugby (the English game he played in California) and basketball the credit for his ability to catch the ball. On punts he is generally waiting for his man to catch the ball."  If it were not for the ban on freshmen play, the Times concluded there was no doubt that he would be playing on the varsity team. CANNOTANSWER

Question: what did the Los Angeles Times call Elton Wieman?
Answer: the big, raw-boned freshman from Southern California
Isabella I of Castile

Context: At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.  The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannons. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Malaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and at the end of the year, Muhammad XII surrendered. On 2 January 1492 Isabella and Ferdinand entered Granada to receive the keys of the city, and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year, and in it Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace. An uprising by the Moors in 1500 caused the Catholic side to consider that the Moors had violated the Treaty: this gave them a justification for revoking its provisions. See Morisco Revolt.  During the war, Isabella noted the abilities and energy of Gonzalo Fernandez de Cordoba and made him one of the two commissioners for the negotiations. Under her patronage, De Cordoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power. CANNOTANSWER

Question: Did Isabella I of Castile live in Granada?
Answer: At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer.
Isabella I of Castile

Context: At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.  The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannons. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Malaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and at the end of the year, Muhammad XII surrendered. On 2 January 1492 Isabella and Ferdinand entered Granada to receive the keys of the city, and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year, and in it Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace. An uprising by the Moors in 1500 caused the Catholic side to consider that the Moors had violated the Treaty: this gave them a justification for revoking its provisions. See Morisco Revolt.  During the war, Isabella noted the abilities and energy of Gonzalo Fernandez de Cordoba and made him one of the two commissioners for the negotiations. Under her patronage, De Cordoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power. CANNOTANSWER

Question: Who were Isabella and Ferdinand fighting against to conquer Granada?
Answer: The Emirate of Granada had been held by the Muslim Nasrid dynasty
Isabella I of Castile

Context: At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.  The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannons. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Malaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and at the end of the year, Muhammad XII surrendered. On 2 January 1492 Isabella and Ferdinand entered Granada to receive the keys of the city, and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year, and in it Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace. An uprising by the Moors in 1500 caused the Catholic side to consider that the Moors had violated the Treaty: this gave them a justification for revoking its provisions. See Morisco Revolt.  During the war, Isabella noted the abilities and energy of Gonzalo Fernandez de Cordoba and made him one of the two commissioners for the negotiations. Under her patronage, De Cordoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power. CANNOTANSWER

Question: Were Isabella and Ferdinand able to conquer Granada?
Answer: On 2 January 1492 Isabella and Ferdinand entered Granada to receive the keys of the city, and the principal mosque was reconsecrated as a church.
Isabella I of Castile

Context: At the end of the Reconquista, only Granada was left for Isabella and Ferdinand to conquer. The Emirate of Granada had been held by the Muslim Nasrid dynasty since the mid-13th century. Protected by natural barriers and fortified towns, it had withstood the long process of the reconquista. On 1 February 1482, the king and queen reached Medina del Campo and this is generally considered the beginning of the war for Granada. While Isabella's and Ferdinand's involvement in the war was apparent from the start, Granada's leadership was divided and never able to present a united front. It still took ten years to conquer Granada, however, culminating in 1492.  The Spanish monarchs recruited soldiers from many European countries and improved their artillery with the latest and best cannons. Systematically, they proceeded to take the kingdom piece by piece. In 1485 they laid siege to Ronda, which surrendered after only a fortnight due to extensive bombardment. The following year, Loja was taken, and again Muhammad XII was captured and released. One year later, with the fall of Malaga, the western part of the Muslim Nasrid kingdom had fallen into Spanish hands. The eastern province succumbed after the fall of Baza in 1489. The siege of Granada began in the spring of 1491 and at the end of the year, Muhammad XII surrendered. On 2 January 1492 Isabella and Ferdinand entered Granada to receive the keys of the city, and the principal mosque was reconsecrated as a church. The Treaty of Granada was signed later that year, and in it Ferdinand and Isabella gave their word to allow the Muslims and Jews of Granada to live in peace. An uprising by the Moors in 1500 caused the Catholic side to consider that the Moors had violated the Treaty: this gave them a justification for revoking its provisions. See Morisco Revolt.  During the war, Isabella noted the abilities and energy of Gonzalo Fernandez de Cordoba and made him one of the two commissioners for the negotiations. Under her patronage, De Cordoba went on to an extraordinary military career that revolutionised the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power. CANNOTANSWER

Question: What did Isabella and Ferdinand do to reorganize the empire?
Answer: the organisation and tactics of the emerging Spanish military, changing the nature of warfare and altering the European balance of power.
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: When did Juliana Hatfield go on tour?
Answer: In 1995,
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: How long was Juliana Hatfield touring?
Answer: Two weeks into the tour, Hatfield canceled the tour,
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: After the 1995 tour had been canceled, how long until Juliana Hatfield resumed touring?
Answer: CANNOTANSWER
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: Why did Juliana Hatfield cancel the 1995 tour?
Answer: she was suffering from depression severe enough to the point of being suicidal.
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: How long did Juliana Hatfield take a break after her canceled 1995 tour?
Answer: took a month-long break.
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: When did Juliana Hatfield resume touring?
Answer: In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan.
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: In addition to touring with the first Lilith Fair, what other noteworthy achievement was done during between 1995-97?
Answer: In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album
Juliana Hatfield

Context: In 1995, following the success of Become What You Are she released her follow-up album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for Only Everything, Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour, which her publicist explained as due to "nervous exhaustion," and took a month-long break.  In her memoir, Hatfield writes that in truth she was suffering from depression severe enough to the point of being suicidal. Hatfield disagreed with the decision not to be upfront about her depression. The drummer was, once again, replaced, this time by Phillips, and touring resumed with Jeff Buckley as the opening act.  In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failed attempts to satisfy requests from Atlantic Records to come up with a "single" that the label could release, Juliana requested she be released from her contract. The label obliged, but kept the rights to the songs produced during these sessions (Atlantic had reportedly paid $180,000 to that point on the recordings). Two tracks - "Mountains of Love" and "Fade Away" - were eventually released on a greatest hits collection entitled Gold Stars, while still another, "Can't Kill Myself," was available for download from Hatfield's official website. The remaining tracks have surfaced only as substandard bootleg versions (which do not meet Hatfield's approval) and she has rarely featured them in her subsequent live performances.  In 1997 Hatfield toured with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. CANNOTANSWER

Question: What singles did Juliana Hatfield release from her fourth solo album?
Answer: Two tracks - "Mountains of Love" and "Fade Away" -