gaussalgo/Canard_Wiki-augmented huggingface dataset:
Ray Bradbury

Context: Throughout his youth, Bradbury was an avid reader and writer and knew at a young age that he was "going into one of the arts." Bradbury began writing his own stories at age 11 (1931), during the Great Depression -- sometimes writing on the only available paper, butcher paper.  In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, and Edgar Allan Poe. At 12, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about 18. In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes, especially Burroughs' John Carter of Mars series. The Warlord of Mars impressed him so much that at the age of 12, he wrote his own sequel. The young Bradbury was also a cartoonist and loved to illustrate. He wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and every night when the show went off the air, he would sit and write the entire script from memory.  As a teen in Beverly Hills, he often visited his mentor and friend science-fiction writer Bob Olsen, sharing ideas and maintaining contact. In 1936, at a secondhand bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society. Excited to find there were others sharing his interest, Bradbury joined a weekly Thursday-night conclave at age 16.  At age 17, Bradbury read stories published in Astounding Science Fiction, and read everything by Robert A. Heinlein, Arthur C. Clarke, and the early writings of Theodore Sturgeon and A. E. van Vogt. Bradbury cited H. G. Wells and Jules Verne as his primary science-fiction influences. Bradbury identified with Verne, saying, "He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally".  Bradbury admitted that he stopped reading science-fiction books in his 20s and embraced a broad field of literature that included Alexander Pope and poet John Donne. Bradbury had just graduated from high school when he met Robert Heinlein, then 31 years old. Bradbury recalled, "He was well known, and he wrote humanistic science fiction, which influenced me to dare to be human instead of mechanical." CANNOTANSWER

Question: What kind of stories did Ray Bradbury write during the Great Depression?
Answer: CANNOTANSWER
Ray Bradbury

Context: Throughout his youth, Bradbury was an avid reader and writer and knew at a young age that he was "going into one of the arts." Bradbury began writing his own stories at age 11 (1931), during the Great Depression -- sometimes writing on the only available paper, butcher paper.  In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, and Edgar Allan Poe. At 12, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about 18. In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes, especially Burroughs' John Carter of Mars series. The Warlord of Mars impressed him so much that at the age of 12, he wrote his own sequel. The young Bradbury was also a cartoonist and loved to illustrate. He wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and every night when the show went off the air, he would sit and write the entire script from memory.  As a teen in Beverly Hills, he often visited his mentor and friend science-fiction writer Bob Olsen, sharing ideas and maintaining contact. In 1936, at a secondhand bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society. Excited to find there were others sharing his interest, Bradbury joined a weekly Thursday-night conclave at age 16.  At age 17, Bradbury read stories published in Astounding Science Fiction, and read everything by Robert A. Heinlein, Arthur C. Clarke, and the early writings of Theodore Sturgeon and A. E. van Vogt. Bradbury cited H. G. Wells and Jules Verne as his primary science-fiction influences. Bradbury identified with Verne, saying, "He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally".  Bradbury admitted that he stopped reading science-fiction books in his 20s and embraced a broad field of literature that included Alexander Pope and poet John Donne. Bradbury had just graduated from high school when he met Robert Heinlein, then 31 years old. Bradbury recalled, "He was well known, and he wrote humanistic science fiction, which influenced me to dare to be human instead of mechanical." CANNOTANSWER

Question: Did Ray Bradbury go to school for writing?
Answer: CANNOTANSWER
Ray Bradbury

Context: Throughout his youth, Bradbury was an avid reader and writer and knew at a young age that he was "going into one of the arts." Bradbury began writing his own stories at age 11 (1931), during the Great Depression -- sometimes writing on the only available paper, butcher paper.  In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, and Edgar Allan Poe. At 12, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about 18. In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes, especially Burroughs' John Carter of Mars series. The Warlord of Mars impressed him so much that at the age of 12, he wrote his own sequel. The young Bradbury was also a cartoonist and loved to illustrate. He wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and every night when the show went off the air, he would sit and write the entire script from memory.  As a teen in Beverly Hills, he often visited his mentor and friend science-fiction writer Bob Olsen, sharing ideas and maintaining contact. In 1936, at a secondhand bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society. Excited to find there were others sharing his interest, Bradbury joined a weekly Thursday-night conclave at age 16.  At age 17, Bradbury read stories published in Astounding Science Fiction, and read everything by Robert A. Heinlein, Arthur C. Clarke, and the early writings of Theodore Sturgeon and A. E. van Vogt. Bradbury cited H. G. Wells and Jules Verne as his primary science-fiction influences. Bradbury identified with Verne, saying, "He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally".  Bradbury admitted that he stopped reading science-fiction books in his 20s and embraced a broad field of literature that included Alexander Pope and poet John Donne. Bradbury had just graduated from high school when he met Robert Heinlein, then 31 years old. Bradbury recalled, "He was well known, and he wrote humanistic science fiction, which influenced me to dare to be human instead of mechanical." CANNOTANSWER

Question: Did any of Ray Bradbury's work get published?
Answer: CANNOTANSWER
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: What did Francois-Rene de Chateaubriand restore?
Answer: Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published.
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: Besides his pamphlet against Napoleon, what other significance did Francois-Rene de Chateaubriand have during the Restoration years?
Answer: After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815).
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: In addition to peer of France and State Minister, did Francois-Rene de Chateaubriand hold any other important offices?
Answer: Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: Why was Francois-Rene de Chateaubriand relieved of his office?
Answer: CANNOTANSWER
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: Besides being relieved of his office, what else did Francois-Rene de Chateaubriand do that was impressive?
Answer: he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: Was Francois-Rene de Chateaubriand recognized for any of his achievements?
Answer: he became highly popular as a defender of press freedom and the cause of Greek independence.
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: Did Francois-Rene de Chateaubriand have a family?
Answer: CANNOTANSWER
François-René de Chateaubriand

Context: After the fall of the French Empire, Chateaubriand rallied to the Bourbons. On 30 March 1814, he wrote a pamphlet against Napoleon, titled De Buonaparte et des Bourbons, of which thousands of copies were published. He then followed Louis XVIII into exile to Ghent during the Hundred Days (March-July 1815), and was nominated ambassador to Sweden.  After Napoleon's defeat, Chateaubriand became peer of France and state minister (1815). In December 1815 he voted for Marshal Ney's execution. However, his criticism of King Louis XVIII in La Monarchie selon la Charte, after the Chambre introuvable was dissolved, got him disgraced. He lost his function of state minister, and joined the opposition, siding with the Ultra-royalist group supporting the future Charles X, and becoming one of the main writers of its mouthpiece, Le Conservateur.  Chateaubriand sided again with the Court after the murder of the Duc de Berry (1820), writing for the occasion the Memoires sur la vie et la mort du duc. He then served as ambassador to Prussia (1821) and the United Kingdom (1822), and even rose to the office of Minister of Foreign Affairs (28 December 1822 - 4 August 1824). A plenipotentiary to the Congress of Verona (1822), he decided in favor of the Quintuple Alliance's intervention in Spain during the Trienio Liberal, despite opposition from the Duke of Wellington. Although the move was considered a success, Chateaubriand was soon relieved of his office by Prime Minister Jean-Baptiste de Villele, the leader of the ultra-royalist group, on 5 June 1824.  Consequently, he moved towards the liberal opposition, both as a Peer and as a contributor to Journal des Debats (his articles there gave the signal of the paper's similar switch, which, however, was more moderate than Le National, directed by Adolphe Thiers and Armand Carrel). Opposing Villele, he became highly popular as a defender of press freedom and the cause of Greek independence. After Villele's downfall, Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).  In 1830 he donated a monument to the French painter Nicolas Poussin in the church of "San Lorenzo in Lucina" in Rome. CANNOTANSWER

Question: Besides the Journal des Debats, who else did Francois-Rene de Chateaubriand work with?
Answer: Charles X appointed him ambassador to the Holy See in 1828, but he resigned upon the accession of the Prince de Polignac as premier (November 1829).
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: What happened to Duke Ellington during the later 1930's?
Answer: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets)
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: Are there any other interesting aspects about this article besides Ellington's albums?
Answer: After leaving agent Irving Mills, he signed on with the William Morris Agency.
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: Why did Ellington  leave Irving Mills?
Answer: In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight,
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: How did Ellington  father die?
Answer: CANNOTANSWER
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: Was Ellington  successful with  William Morris Agency?
Answer: After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937,
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: How did the 1930's end for Ellington?
Answer: The 1930s ended with a very successful European tour just as World War II loomed in Europe.
Duke Ellington

Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe. CANNOTANSWER

Question: What was the most interesting thing you read in the article?
Answer: Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization.
Ashkenazi Jews

Context: The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Askuza (cuneiform Askuzai/Iskuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates, whose name is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a waw v with a nun n.  In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon.  In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15) Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria.  Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe German speech, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to both the Jews of medieval Germany and France. CANNOTANSWER

Question: What is the etymology of Ashkenazi Jews?
Answer: The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations
Ashkenazi Jews

Context: The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Askuza (cuneiform Askuzai/Iskuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates, whose name is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a waw v with a nun n.  In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon.  In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15) Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria.  Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe German speech, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to both the Jews of medieval Germany and France. CANNOTANSWER

Question: What was special about the Ashkenazi Jews?
Answer: Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon.