gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jim Thorpe

Context: Thorpe signed with the New York Giants baseball club in 1913 and played sporadically with them as an outfielder for three seasons. After playing in the minor leagues with the Milwaukee Brewers in 1916, he returned to the Giants in 1917 but was sold to the Cincinnati Reds early in the season. In the "double no-hitter" between Fred Toney of the Reds and Hippo Vaughn of the Chicago Cubs, Thorpe drove in the winning run in the 10th inning. Late in the season, he was sold back to the Giants. Again, he played sporadically for them in 1918 before being traded to the Boston Braves on May 21, 1919, for Pat Ragan. In his career, he amassed 91 runs scored, 82 runs batted in and a .252 batting average over 289 games. He continued to play minor league baseball until 1922.  But Thorpe had not abandoned football either. He first played professional football in 1913 as a member of the Indiana-based Pine Village Pros, a team that had a several-season winning streak against local teams during the 1910s. He then signed with the Canton Bulldogs in 1915. They paid him $250 ($6,048 today) a game, a tremendous wage at the time. Before signing him Canton was averaging 1,200 fans a game, but 8,000 showed up for his debut against the Massillon Tigers. The team won titles in 1916, 1917, and 1919. He reportedly ended the 1919 championship game by kicking a wind-assisted 95-yard punt from his team's own 5-yard line, effectively putting the game out of reach. In 1920, the Bulldogs were one of 14 teams to form the American Professional Football Association (APFA), which would become the National Football League (NFL) two years later. Thorpe was nominally the APFA's first president, but spent most of the year playing for Canton and a year later was replaced as president by Joseph Carr. He continued to play for Canton, coaching the team as well. Between 1921 and 1923, he helped organize and played for the Oorang Indians (LaRue, Ohio), an all-Native American team. Although the team's record was 3-6 in 1922, and 1-10 in 1923, he played well and was selected for the Green Bay Press-Gazette's first All-NFL team in 1923, which would later be formally recognized by the NFL as the league's official All-NFL team in 1931).  Thorpe never played for an NFL championship team. He retired from professional football at age 41, having played 52 NFL games for six teams from 1920 to 1928.  Until 2005, most of Thorpe's biographers were unaware of his basketball career until a ticket that documented his time in professional basketball was discovered in an old book that year. By 1926, he was the main feature of the "World Famous Indians" of LaRue, a traveling basketball team. "Jim Thorpe's world famous Indians" barnstormed for at least two years (1927-28) in multiple states. Although stories about Thorpe's team were published in some local newspapers at the time, his basketball career had not been well-documented afterwards. CANNOTANSWER

Question: When did Jim Thorpe retire from sports altogether?
Answer: at age 41,
Hoodoo Gurus

Context: Three Hoodoo Gurus founders were from Perth protopunk and punk bands: Dave Faulkner (guitars) and James Baker (drums) of The Victims; while Baker had been with Roddy Radalj (aka Roddy Ray'Da) (guitars) in The Scientists. The fourth founding member, Kimble Rendall (guitars) was formerly in Sydney punk rockers XL Capris. The three guitarists Faulkner, Rendall and Radalj met at an end-of-1980 New Year's Eve party and were joined by Baker to form Le Hoodoo Gurus.  Le Hoodoo Gurus unorthodox line-up of three guitars and no bass player, fused pop melodies, punk guitars and an American trash culture ethic. This was captured on their first single, "Leilani" released in October 1982, on Phantom Records. This told the story of a maiden sacrificed to the gods and an erupting volcano while her true love looked on helplessly. They dropped the 'Le', to become Hoodoo Gurus, not long after the single's release. As the Hoodoo Gurus, they gave their first ever performance on a segment of the kids' TV program Simon Townsend's Wonder World; this was followed by a performance alongside a man and his singing dog, on The Don Lane Show.  Rendall left in 1982 before the release of "Leilani", and went on to become an award-winning music video and film director. Rendall was Second Unit Director on the latter two Matrix films, The Matrix Reloaded and The Matrix Revolutions, as well as I, Robot. Rendall also directed the slasher film, Cut in 2000. Rendall was effectively replaced by Clyde Bramley (bass guitar, backing vocals) from Sydney bands The Hitmen and Super K.  Radalj was not happy with Rendall's leaving or Faulkner's greater influence and left the Gurus. He was replaced by ex-Fun Things guitarist Brad Shepherd, who had been Bramley's flatmate. Bramley and Shepherd had both been in The Hitmen and Super K. Faulkner wrote "I Want You Back" in response to Radalj's public dissatisfaction with the Gurus. Radalj went on to perform with a number of other acts, including The Johnnys, Love Rodeo, The Dubrovniks and Roddy Ray'Da & the Surfin' Caesars. As Roddy Ray'Da, he released Lost, Lonely and Vicious in 1990, Orgazmatazz a year later and Mouthful of Chicken in 1993. CANNOTANSWER

Question: When was the Hoodoo Gurus band formed?
Answer: The three guitarists Faulkner, Rendall and Radalj met at an end-of-1980 New Year's Eve party and were joined by Baker to form Le Hoodoo Gurus.
Hoodoo Gurus

Context: Three Hoodoo Gurus founders were from Perth protopunk and punk bands: Dave Faulkner (guitars) and James Baker (drums) of The Victims; while Baker had been with Roddy Radalj (aka Roddy Ray'Da) (guitars) in The Scientists. The fourth founding member, Kimble Rendall (guitars) was formerly in Sydney punk rockers XL Capris. The three guitarists Faulkner, Rendall and Radalj met at an end-of-1980 New Year's Eve party and were joined by Baker to form Le Hoodoo Gurus.  Le Hoodoo Gurus unorthodox line-up of three guitars and no bass player, fused pop melodies, punk guitars and an American trash culture ethic. This was captured on their first single, "Leilani" released in October 1982, on Phantom Records. This told the story of a maiden sacrificed to the gods and an erupting volcano while her true love looked on helplessly. They dropped the 'Le', to become Hoodoo Gurus, not long after the single's release. As the Hoodoo Gurus, they gave their first ever performance on a segment of the kids' TV program Simon Townsend's Wonder World; this was followed by a performance alongside a man and his singing dog, on The Don Lane Show.  Rendall left in 1982 before the release of "Leilani", and went on to become an award-winning music video and film director. Rendall was Second Unit Director on the latter two Matrix films, The Matrix Reloaded and The Matrix Revolutions, as well as I, Robot. Rendall also directed the slasher film, Cut in 2000. Rendall was effectively replaced by Clyde Bramley (bass guitar, backing vocals) from Sydney bands The Hitmen and Super K.  Radalj was not happy with Rendall's leaving or Faulkner's greater influence and left the Gurus. He was replaced by ex-Fun Things guitarist Brad Shepherd, who had been Bramley's flatmate. Bramley and Shepherd had both been in The Hitmen and Super K. Faulkner wrote "I Want You Back" in response to Radalj's public dissatisfaction with the Gurus. Radalj went on to perform with a number of other acts, including The Johnnys, Love Rodeo, The Dubrovniks and Roddy Ray'Da & the Surfin' Caesars. As Roddy Ray'Da, he released Lost, Lonely and Vicious in 1990, Orgazmatazz a year later and Mouthful of Chicken in 1993. CANNOTANSWER

Question: How did the band Hoodoo Gurus come up with their band name?
Answer: CANNOTANSWER
Hoodoo Gurus

Context: Three Hoodoo Gurus founders were from Perth protopunk and punk bands: Dave Faulkner (guitars) and James Baker (drums) of The Victims; while Baker had been with Roddy Radalj (aka Roddy Ray'Da) (guitars) in The Scientists. The fourth founding member, Kimble Rendall (guitars) was formerly in Sydney punk rockers XL Capris. The three guitarists Faulkner, Rendall and Radalj met at an end-of-1980 New Year's Eve party and were joined by Baker to form Le Hoodoo Gurus.  Le Hoodoo Gurus unorthodox line-up of three guitars and no bass player, fused pop melodies, punk guitars and an American trash culture ethic. This was captured on their first single, "Leilani" released in October 1982, on Phantom Records. This told the story of a maiden sacrificed to the gods and an erupting volcano while her true love looked on helplessly. They dropped the 'Le', to become Hoodoo Gurus, not long after the single's release. As the Hoodoo Gurus, they gave their first ever performance on a segment of the kids' TV program Simon Townsend's Wonder World; this was followed by a performance alongside a man and his singing dog, on The Don Lane Show.  Rendall left in 1982 before the release of "Leilani", and went on to become an award-winning music video and film director. Rendall was Second Unit Director on the latter two Matrix films, The Matrix Reloaded and The Matrix Revolutions, as well as I, Robot. Rendall also directed the slasher film, Cut in 2000. Rendall was effectively replaced by Clyde Bramley (bass guitar, backing vocals) from Sydney bands The Hitmen and Super K.  Radalj was not happy with Rendall's leaving or Faulkner's greater influence and left the Gurus. He was replaced by ex-Fun Things guitarist Brad Shepherd, who had been Bramley's flatmate. Bramley and Shepherd had both been in The Hitmen and Super K. Faulkner wrote "I Want You Back" in response to Radalj's public dissatisfaction with the Gurus. Radalj went on to perform with a number of other acts, including The Johnnys, Love Rodeo, The Dubrovniks and Roddy Ray'Da & the Surfin' Caesars. As Roddy Ray'Da, he released Lost, Lonely and Vicious in 1990, Orgazmatazz a year later and Mouthful of Chicken in 1993. CANNOTANSWER

Question: What did the Hoodoo Guru's do in 1982?
Answer: This was captured on their first single, "Leilani" released in October 1982,
Hoodoo Gurus

Context: Three Hoodoo Gurus founders were from Perth protopunk and punk bands: Dave Faulkner (guitars) and James Baker (drums) of The Victims; while Baker had been with Roddy Radalj (aka Roddy Ray'Da) (guitars) in The Scientists. The fourth founding member, Kimble Rendall (guitars) was formerly in Sydney punk rockers XL Capris. The three guitarists Faulkner, Rendall and Radalj met at an end-of-1980 New Year's Eve party and were joined by Baker to form Le Hoodoo Gurus.  Le Hoodoo Gurus unorthodox line-up of three guitars and no bass player, fused pop melodies, punk guitars and an American trash culture ethic. This was captured on their first single, "Leilani" released in October 1982, on Phantom Records. This told the story of a maiden sacrificed to the gods and an erupting volcano while her true love looked on helplessly. They dropped the 'Le', to become Hoodoo Gurus, not long after the single's release. As the Hoodoo Gurus, they gave their first ever performance on a segment of the kids' TV program Simon Townsend's Wonder World; this was followed by a performance alongside a man and his singing dog, on The Don Lane Show.  Rendall left in 1982 before the release of "Leilani", and went on to become an award-winning music video and film director. Rendall was Second Unit Director on the latter two Matrix films, The Matrix Reloaded and The Matrix Revolutions, as well as I, Robot. Rendall also directed the slasher film, Cut in 2000. Rendall was effectively replaced by Clyde Bramley (bass guitar, backing vocals) from Sydney bands The Hitmen and Super K.  Radalj was not happy with Rendall's leaving or Faulkner's greater influence and left the Gurus. He was replaced by ex-Fun Things guitarist Brad Shepherd, who had been Bramley's flatmate. Bramley and Shepherd had both been in The Hitmen and Super K. Faulkner wrote "I Want You Back" in response to Radalj's public dissatisfaction with the Gurus. Radalj went on to perform with a number of other acts, including The Johnnys, Love Rodeo, The Dubrovniks and Roddy Ray'Da & the Surfin' Caesars. As Roddy Ray'Da, he released Lost, Lonely and Vicious in 1990, Orgazmatazz a year later and Mouthful of Chicken in 1993. CANNOTANSWER

Question: Did the Hoodoo Guru's first single reach bill board charts?
Answer: CANNOTANSWER
Hoodoo Gurus

Context: Three Hoodoo Gurus founders were from Perth protopunk and punk bands: Dave Faulkner (guitars) and James Baker (drums) of The Victims; while Baker had been with Roddy Radalj (aka Roddy Ray'Da) (guitars) in The Scientists. The fourth founding member, Kimble Rendall (guitars) was formerly in Sydney punk rockers XL Capris. The three guitarists Faulkner, Rendall and Radalj met at an end-of-1980 New Year's Eve party and were joined by Baker to form Le Hoodoo Gurus.  Le Hoodoo Gurus unorthodox line-up of three guitars and no bass player, fused pop melodies, punk guitars and an American trash culture ethic. This was captured on their first single, "Leilani" released in October 1982, on Phantom Records. This told the story of a maiden sacrificed to the gods and an erupting volcano while her true love looked on helplessly. They dropped the 'Le', to become Hoodoo Gurus, not long after the single's release. As the Hoodoo Gurus, they gave their first ever performance on a segment of the kids' TV program Simon Townsend's Wonder World; this was followed by a performance alongside a man and his singing dog, on The Don Lane Show.  Rendall left in 1982 before the release of "Leilani", and went on to become an award-winning music video and film director. Rendall was Second Unit Director on the latter two Matrix films, The Matrix Reloaded and The Matrix Revolutions, as well as I, Robot. Rendall also directed the slasher film, Cut in 2000. Rendall was effectively replaced by Clyde Bramley (bass guitar, backing vocals) from Sydney bands The Hitmen and Super K.  Radalj was not happy with Rendall's leaving or Faulkner's greater influence and left the Gurus. He was replaced by ex-Fun Things guitarist Brad Shepherd, who had been Bramley's flatmate. Bramley and Shepherd had both been in The Hitmen and Super K. Faulkner wrote "I Want You Back" in response to Radalj's public dissatisfaction with the Gurus. Radalj went on to perform with a number of other acts, including The Johnnys, Love Rodeo, The Dubrovniks and Roddy Ray'Da & the Surfin' Caesars. As Roddy Ray'Da, he released Lost, Lonely and Vicious in 1990, Orgazmatazz a year later and Mouthful of Chicken in 1993. CANNOTANSWER

Question: Did the Hoodoo Guru's go on tour?
Answer: CANNOTANSWER
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: Where did Will Forte start his career?
Answer: He began taking classes at the Groundlings
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: What did Will Forte do at the Groundlings?
Answer: Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: What did Will Forte do after the Groundlings?
Answer: successful foray into comedy was 101 Things to Definitely Not Do If You Want to
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: Where did Will Forte perform 101 Things to Definitely Not Do If You Want to?
Answer: Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show,
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: How long did Will Forte write for The Jenny McCarthy Show?
Answer: wonder what it would be like if I'd had a couple more years of experience before going there."
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: When did Will Forte write Get a Chick?
Answer: Get a Chick, a comic book he produced that details incompetent
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: Besides Get a Chick, Did Will Forte write anything else?
Answer: CANNOTANSWER
The Dark Side of the Moon

Context: The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".  The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").  Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track. CANNOTANSWER

Question: What kind of instrumentation were used in The Dark Side of the Moon?
Answer: A piano chord, replayed backwards, serves to augment the build-up of effects,
The Dark Side of the Moon

Context: The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".  The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").  Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track. CANNOTANSWER

Question: Were there any particular songs from The Dark Side of the Moon with piano chords replayed backwards?
Answer: are immediately followed by the opening of "Breathe
The Dark Side of the Moon

Context: The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".  The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").  Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track. CANNOTANSWER

Question: Aside from Breathe, Were there any other songs on The Dark Side of the Moon that used the technique of piano chords replayed backwords?
Answer: CANNOTANSWER
The Dark Side of the Moon

Context: The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".  The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").  Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track. CANNOTANSWER

Question: Aside from piano chords replayed backwards, What other different techniques were used on The Dark Side of the Moon??
Answer: The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine,
The Dark Side of the Moon

Context: The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".  The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").  Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track. CANNOTANSWER

Question: Did The Dark Side of the Moon use synthesizers?
Answer: Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound.
Broken Social Scene

Context: Broken Social Scene released their third full-length album, Broken Social Scene, also produced by Newfeld, in October 2005, with new contributors including k-os, Jason Tait and Murray Lightburn. New band members were Newfeld and Torquil Campbell, who were members of the band Stars. A limited edition EP, EP to Be You and Me was also printed along with the album.  Broken Social Scene performed "7/4 (Shoreline)" on Late Night with Conan O'Brien on January 31, 2006, and that year they performed "Ibi Dreams of Pavement" at the 2006 Juno Awards, at which their self-titled album won the Alternative Album of the Year award. In August the band went on a European tour. Returning in September, they were last-minute replacement performers at North America's first Virgin Festival, at Toronto Islands Park after headliners Massive Attack cancelled due to problems involving obtaining US visas. The band quickly assembled to play a one-hour closing performance on the main stage, following The Strokes and The Raconteurs. Through the performance the band was joined by Feist, Amy Millan of Stars, k-os, and Emily Haines of Metric. This was the last show featuring the entire 15 member lineup of the band until 2009.  After a US tour in November, the band went on hiatus while members worked on their other projects. In late 2006, several members of the band appeared as special guests on The Stars and Suns Sessions, the second album from Mexican indie band Chikita Violenta. The album was produced by Dave Newfeld.  In May 2008, the band contributed a T-shirt design for the Yellow Bird Project to raise money and awareness for the Lake Ontario Waterkeeper. The shirt was designed by their drummer, Justin Peroff, and bears the slogan "Hope for Truth".  Members of Broken Social Scene composed and recorded an original score for director Marc Evans's film Snow Cake, as well as scored his 2007 film adaptation of Maureen Medved's novel, The Tracey Fragments. In 2009, Bruce McDonald directed a short documentary episode of IFC's The Rawside Of... that focused on the making of Brendan Canning's solo album Something for All of Us. CANNOTANSWER

Question: What is Broken Social Scene?
Answer: Broken Social Scene released their third full-length album,