gaussalgo/Canard_Wiki-augmented huggingface dataset:
Chris Hedges

Context: Hedges worked for 15 years as a foreign correspondent for The New York Times. He was based in the Middle East for five years, serving for four of those years as the Middle East bureau chief. He covered the war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo. He later covered Al Qaeda in Europe and the Middle East from Paris.  Three of Hedges' articles were based upon the stories of Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress. The program promoted stories to major media outlets in order to orchestrate US intervention in Iraq in the aftermath of the 9/11 attacks. Most significant of his reports in this period was a November 8, 2001, front-page story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes without using guns. Hedges quoted a man whom he believed to be an Iraqi general: "These Islamic radicals ... came from a variety of countries, including Saudi Arabia, Yemen, Algeria, Egypt, and Morocco. We were training these people to attack installations important to the United States". The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons.  According to Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.'" As late as 2006, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.  It later was revealed that the story which Hedges reported was "an elaborate scam". The defector whom Hedges quoted, who had identified himself as Lt. General Jamal al-Ghurairy, was a former sergeant. The real Ghurairy had never left Iraq. Hedges said that he had taken on reporting this account at the request of Lowell Bergman of Frontline, who wanted the defectors for his show but could not go to Beirut for the interview. The trip had been organized by Ahmed Chalabi, whom Hedges considered to be unreliable. Hedges said he had done the piece as a favor to Bergman, explaining, "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it." Hedges had relied on the US embassy in Turkey for further confirmation of the man's identity.  Hedges wrote two more articles that year that were informed by Chalabi-coached defectors. The second one, claiming that Iraq still held 80 Kuwaitis captured in the 1991 Gulf War in a secret underground prison, was also found to be baseless. CANNOTANSWER

Question: What is the New York Times?
Answer: Hedges worked for 15 years as a foreign correspondent for The New York Times.
Chris Hedges

Context: Hedges worked for 15 years as a foreign correspondent for The New York Times. He was based in the Middle East for five years, serving for four of those years as the Middle East bureau chief. He covered the war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo. He later covered Al Qaeda in Europe and the Middle East from Paris.  Three of Hedges' articles were based upon the stories of Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress. The program promoted stories to major media outlets in order to orchestrate US intervention in Iraq in the aftermath of the 9/11 attacks. Most significant of his reports in this period was a November 8, 2001, front-page story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes without using guns. Hedges quoted a man whom he believed to be an Iraqi general: "These Islamic radicals ... came from a variety of countries, including Saudi Arabia, Yemen, Algeria, Egypt, and Morocco. We were training these people to attack installations important to the United States". The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons.  According to Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.'" As late as 2006, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.  It later was revealed that the story which Hedges reported was "an elaborate scam". The defector whom Hedges quoted, who had identified himself as Lt. General Jamal al-Ghurairy, was a former sergeant. The real Ghurairy had never left Iraq. Hedges said that he had taken on reporting this account at the request of Lowell Bergman of Frontline, who wanted the defectors for his show but could not go to Beirut for the interview. The trip had been organized by Ahmed Chalabi, whom Hedges considered to be unreliable. Hedges said he had done the piece as a favor to Bergman, explaining, "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it." Hedges had relied on the US embassy in Turkey for further confirmation of the man's identity.  Hedges wrote two more articles that year that were informed by Chalabi-coached defectors. The second one, claiming that Iraq still held 80 Kuwaitis captured in the 1991 Gulf War in a secret underground prison, was also found to be baseless. CANNOTANSWER

Question: Why did Chris Hedges only work for 15 years at The New York Times?
Answer: CANNOTANSWER
Chris Hedges

Context: Hedges worked for 15 years as a foreign correspondent for The New York Times. He was based in the Middle East for five years, serving for four of those years as the Middle East bureau chief. He covered the war in the former Yugoslavia as the Balkan bureau chief based in Sarajevo. He later covered Al Qaeda in Europe and the Middle East from Paris.  Three of Hedges' articles were based upon the stories of Iraqi defectors, who had been furnished to Hedges by the Information Collection Program of the US-funded Iraqi National Congress. The program promoted stories to major media outlets in order to orchestrate US intervention in Iraq in the aftermath of the 9/11 attacks. Most significant of his reports in this period was a November 8, 2001, front-page story about two former Iraqi military commanders who claimed to have trained foreign mujahedeen how to hijack planes without using guns. Hedges quoted a man whom he believed to be an Iraqi general: "These Islamic radicals ... came from a variety of countries, including Saudi Arabia, Yemen, Algeria, Egypt, and Morocco. We were training these people to attack installations important to the United States". The two defectors also asserted there was a secret compound in Salman Pak facility where a German scientist was producing biological weapons.  According to Mother Jones: "The impact of the article ... was immediate: Op-eds ran in major papers, and the story was taken to a wider audience through cable-TV talk shows. When Condoleezza Rice, then George W. Bush's national security adviser, was asked about the report at a press briefing, she said, 'I think it surprises no one that Saddam Hussein is engaged in all kinds of activities that are destabilizing.'" As late as 2006, conservative magazines including The Weekly Standard and National Review continued to use this article to justify the invasion of Iraq.  It later was revealed that the story which Hedges reported was "an elaborate scam". The defector whom Hedges quoted, who had identified himself as Lt. General Jamal al-Ghurairy, was a former sergeant. The real Ghurairy had never left Iraq. Hedges said that he had taken on reporting this account at the request of Lowell Bergman of Frontline, who wanted the defectors for his show but could not go to Beirut for the interview. The trip had been organized by Ahmed Chalabi, whom Hedges considered to be unreliable. Hedges said he had done the piece as a favor to Bergman, explaining, "There has to be a level of trust between reporters. We cover each other's sources when it's a good story because otherwise everyone would get hold of it." Hedges had relied on the US embassy in Turkey for further confirmation of the man's identity.  Hedges wrote two more articles that year that were informed by Chalabi-coached defectors. The second one, claiming that Iraq still held 80 Kuwaitis captured in the 1991 Gulf War in a secret underground prison, was also found to be baseless. CANNOTANSWER

Question: Did Chris Hedges work anywhere other than The New York Times?
Answer: CANNOTANSWER
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: How do celluloid records have anything to do with Bill Laswell?
Answer: Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s.
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Where were Celluloid Records located?
Answer: Within a few years of moving to New York, Laswell founded a recording studio
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Was there anyone else involved in the label besides Bill Laswell?
Answer: with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records.
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Did any other artists record under Celluloid Records label, too besides Bill Laswell?
Answer: now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell)
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Why style of music did Laswell from Celluloid Records predominately record?
Answer: Laswell was able to record some of his Material excursions (
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: What is meant by "Material excursions"?
Answer: which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Who was part of the Material excursions in Celluloid Records?
Answer: featuring everyone from avant-jazz figures Henry Threadgill and
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Was there anyone else involved in Celluloid Records besides Bill Laswell, producer/engineer Martin Bisi, Jean Karakos and Beinhorn?
Answer: Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Did Celluloid Records produce both vocal and instrumental albums?
Answer: Celluloid also released a slew of 12" devoted to Hip-Hop,
Bill Laswell

Context: Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER

Question: Were there any noteworthy artist involved with that production of a slew of 12" devoted to Hip-Hop?
Answer: a Laswell-helmed solo album for Celluloid was Ginger Baker,
James Traficant

Context: Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976).  At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.  In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.  Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER

Question: When was James Traficant born?
Answer: CANNOTANSWER
James Traficant

Context: Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976).  At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.  In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.  Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER

Question: Where was James Traficant born?
Answer: Youngstown, Ohio,
James Traficant

Context: Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976).  At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.  In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.  Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER

Question: Who were James Traficant's parents?
Answer: son of Agnes (nee Farkas) and James Anthony Traficant Sr.
James Traficant

Context: Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976).  At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.  In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.  Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER

Question: Did James Traficant have any siblings?
Answer: CANNOTANSWER
James Traficant

Context: Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976).  At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses.  In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself.  Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER

Question: Where did James Traficant go to school?
Answer: Cardinal Mooney High School
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: Who did Ronald Shannon Jackson play with in his late career?
Answer: Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005.
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: Did  Ronald Shannon Jackson ever win any awards for his playing?
Answer: The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer.