gaussalgo/Canard_Wiki-augmented huggingface dataset:
Tony Romo

Context: Romo began the 2007 season with four touchdown passes and an additional touchdown rush, the first of his career, defeating the New York Giants 45-35 in the Cowboys' first game of the regular season, His 345 passing yards in Week 1 led the NFL. In Week 2, he threw for 186 yards and two touchdowns beating the Miami Dolphins, ranking him seventh in passing yards and tied for second with six touchdown passes. Romo added 329 passing yards and two touchdown passes in the Cowboys' Week 3 34-10 win over the Chicago Bears. The following week, he passed for 339 yards and three touchdowns in a 35-7 win over the St. Louis Rams. He also ran for an additional touchdown. This brought his season totals to 1199 passing yards with 11 passing touchdowns and two rushing touchdowns.  In Week 5, on Monday Night Football against the Buffalo Bills, Romo threw five interceptions (four in the first half, two of which were returned for touchdowns) and lost a fumble. He became the second person in the history of Monday Night Football to throw five interceptions in a winning effort. The first person was his quarterbacks coach Wade Wilson. Nonetheless, he threw for 4,211 yards (third in the NFL) and 36 touchdown passes during the regular season (second only to Tom Brady). His 97.4 passer rating was good enough for fifth in the NFL behind Tom Brady, Ben Roethlisberger, David Garrard, and Peyton Manning.  On October 29, Romo reached an agreement to a six-year, $67.5 million contract extension with the Cowboys.  On November 29 against the Green Bay Packers, in a game between 10-1 teams, Romo threw four touchdown passes (bringing his season total to 33), breaking Danny White's (29) record from 1983. On December 22 against the Carolina Panthers, Romo became the first Cowboys' quarterback to pass for more than 4,000 yards in a season. Finally on December 30 against the Washington Redskins, Romo broke the Cowboys' season completions record with his 335th completion, a short pass to tight end Jason Witten. The Cowboys finished the season with a 13-3 record.  In the Cowboys' January 13, 2008, divisional playoff game against the New York Giants, Romo was unable to lead his team to a come-from-behind victory. On fourth down with less than half a minute and no timeouts left, Romo threw the ball into the end zone, but it was intercepted by Giants cornerback R. W. McQuarters, ensuring that the Cowboys were eliminated from the playoffs with a 21-17 loss to the eventual Super Bowl XLII champions. CANNOTANSWER

Question: Did Tony Romo play in the NFL playoff against the Cowboys?
Answer: CANNOTANSWER
Tony Romo

Context: Romo began the 2007 season with four touchdown passes and an additional touchdown rush, the first of his career, defeating the New York Giants 45-35 in the Cowboys' first game of the regular season, His 345 passing yards in Week 1 led the NFL. In Week 2, he threw for 186 yards and two touchdowns beating the Miami Dolphins, ranking him seventh in passing yards and tied for second with six touchdown passes. Romo added 329 passing yards and two touchdown passes in the Cowboys' Week 3 34-10 win over the Chicago Bears. The following week, he passed for 339 yards and three touchdowns in a 35-7 win over the St. Louis Rams. He also ran for an additional touchdown. This brought his season totals to 1199 passing yards with 11 passing touchdowns and two rushing touchdowns.  In Week 5, on Monday Night Football against the Buffalo Bills, Romo threw five interceptions (four in the first half, two of which were returned for touchdowns) and lost a fumble. He became the second person in the history of Monday Night Football to throw five interceptions in a winning effort. The first person was his quarterbacks coach Wade Wilson. Nonetheless, he threw for 4,211 yards (third in the NFL) and 36 touchdown passes during the regular season (second only to Tom Brady). His 97.4 passer rating was good enough for fifth in the NFL behind Tom Brady, Ben Roethlisberger, David Garrard, and Peyton Manning.  On October 29, Romo reached an agreement to a six-year, $67.5 million contract extension with the Cowboys.  On November 29 against the Green Bay Packers, in a game between 10-1 teams, Romo threw four touchdown passes (bringing his season total to 33), breaking Danny White's (29) record from 1983. On December 22 against the Carolina Panthers, Romo became the first Cowboys' quarterback to pass for more than 4,000 yards in a season. Finally on December 30 against the Washington Redskins, Romo broke the Cowboys' season completions record with his 335th completion, a short pass to tight end Jason Witten. The Cowboys finished the season with a 13-3 record.  In the Cowboys' January 13, 2008, divisional playoff game against the New York Giants, Romo was unable to lead his team to a come-from-behind victory. On fourth down with less than half a minute and no timeouts left, Romo threw the ball into the end zone, but it was intercepted by Giants cornerback R. W. McQuarters, ensuring that the Cowboys were eliminated from the playoffs with a 21-17 loss to the eventual Super Bowl XLII champions. CANNOTANSWER

Question: Did Tony Romo lose any game in the NFL?
Answer: ensuring that the Cowboys were eliminated from the playoffs with a 21-17 loss to the eventual Super Bowl XLII champions.
Tony Romo

Context: Romo began the 2007 season with four touchdown passes and an additional touchdown rush, the first of his career, defeating the New York Giants 45-35 in the Cowboys' first game of the regular season, His 345 passing yards in Week 1 led the NFL. In Week 2, he threw for 186 yards and two touchdowns beating the Miami Dolphins, ranking him seventh in passing yards and tied for second with six touchdown passes. Romo added 329 passing yards and two touchdown passes in the Cowboys' Week 3 34-10 win over the Chicago Bears. The following week, he passed for 339 yards and three touchdowns in a 35-7 win over the St. Louis Rams. He also ran for an additional touchdown. This brought his season totals to 1199 passing yards with 11 passing touchdowns and two rushing touchdowns.  In Week 5, on Monday Night Football against the Buffalo Bills, Romo threw five interceptions (four in the first half, two of which were returned for touchdowns) and lost a fumble. He became the second person in the history of Monday Night Football to throw five interceptions in a winning effort. The first person was his quarterbacks coach Wade Wilson. Nonetheless, he threw for 4,211 yards (third in the NFL) and 36 touchdown passes during the regular season (second only to Tom Brady). His 97.4 passer rating was good enough for fifth in the NFL behind Tom Brady, Ben Roethlisberger, David Garrard, and Peyton Manning.  On October 29, Romo reached an agreement to a six-year, $67.5 million contract extension with the Cowboys.  On November 29 against the Green Bay Packers, in a game between 10-1 teams, Romo threw four touchdown passes (bringing his season total to 33), breaking Danny White's (29) record from 1983. On December 22 against the Carolina Panthers, Romo became the first Cowboys' quarterback to pass for more than 4,000 yards in a season. Finally on December 30 against the Washington Redskins, Romo broke the Cowboys' season completions record with his 335th completion, a short pass to tight end Jason Witten. The Cowboys finished the season with a 13-3 record.  In the Cowboys' January 13, 2008, divisional playoff game against the New York Giants, Romo was unable to lead his team to a come-from-behind victory. On fourth down with less than half a minute and no timeouts left, Romo threw the ball into the end zone, but it was intercepted by Giants cornerback R. W. McQuarters, ensuring that the Cowboys were eliminated from the playoffs with a 21-17 loss to the eventual Super Bowl XLII champions. CANNOTANSWER

Question: Did the Cowboys win against the Green Bay Packers in November 29?
Answer: On November 29 against the Green Bay Packers, in a game between 10-1 teams, Romo threw four touchdown passes
Tony Romo

Context: Romo began the 2007 season with four touchdown passes and an additional touchdown rush, the first of his career, defeating the New York Giants 45-35 in the Cowboys' first game of the regular season, His 345 passing yards in Week 1 led the NFL. In Week 2, he threw for 186 yards and two touchdowns beating the Miami Dolphins, ranking him seventh in passing yards and tied for second with six touchdown passes. Romo added 329 passing yards and two touchdown passes in the Cowboys' Week 3 34-10 win over the Chicago Bears. The following week, he passed for 339 yards and three touchdowns in a 35-7 win over the St. Louis Rams. He also ran for an additional touchdown. This brought his season totals to 1199 passing yards with 11 passing touchdowns and two rushing touchdowns.  In Week 5, on Monday Night Football against the Buffalo Bills, Romo threw five interceptions (four in the first half, two of which were returned for touchdowns) and lost a fumble. He became the second person in the history of Monday Night Football to throw five interceptions in a winning effort. The first person was his quarterbacks coach Wade Wilson. Nonetheless, he threw for 4,211 yards (third in the NFL) and 36 touchdown passes during the regular season (second only to Tom Brady). His 97.4 passer rating was good enough for fifth in the NFL behind Tom Brady, Ben Roethlisberger, David Garrard, and Peyton Manning.  On October 29, Romo reached an agreement to a six-year, $67.5 million contract extension with the Cowboys.  On November 29 against the Green Bay Packers, in a game between 10-1 teams, Romo threw four touchdown passes (bringing his season total to 33), breaking Danny White's (29) record from 1983. On December 22 against the Carolina Panthers, Romo became the first Cowboys' quarterback to pass for more than 4,000 yards in a season. Finally on December 30 against the Washington Redskins, Romo broke the Cowboys' season completions record with his 335th completion, a short pass to tight end Jason Witten. The Cowboys finished the season with a 13-3 record.  In the Cowboys' January 13, 2008, divisional playoff game against the New York Giants, Romo was unable to lead his team to a come-from-behind victory. On fourth down with less than half a minute and no timeouts left, Romo threw the ball into the end zone, but it was intercepted by Giants cornerback R. W. McQuarters, ensuring that the Cowboys were eliminated from the playoffs with a 21-17 loss to the eventual Super Bowl XLII champions. CANNOTANSWER

Question: How much did Tony Romo earn on his contract extension with the Cowboys?
Answer: On October 29, Romo reached an agreement to a six-year, $67.5 million contract extension with the Cowboys.
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: In addition to Modern Sounds in Country and Western Music, are there any other interesting aspects about this article?
Answer: Charles sought to experiment with country music.
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: Did Modern Sounds in Country and Western Music release a country sound?
Answer: he attempted to incorporate this style and influence with his cover of country singer
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: Did Modern Sounds in Country and Western Music work out well?
Answer: CANNOTANSWER
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: How did the public take to the change of Modern Sounds in Country and Western Music?
Answer: he received generally negative commentary and feedback
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: What happened to Modern Sounds in Country and Western Music after the negative feedback?
Answer: The Genius Hits the Road (
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: When was The Genius Hits the Road released?
Answer: (1960),
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: How well did the The Genius Hits the Road album do ?
Answer: expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production.
Modern Sounds in Country and Western Music

Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music. CANNOTANSWER

Question: Did The Genius Hits the Road have any success in the country theme music?
Answer: he received generally negative commentary and feedback
Matt Groening

Context: Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year.  Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons.  Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell. CANNOTANSWER

Question: What is Life in Hell?
Answer: self-published comic book
Matt Groening

Context: Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year.  Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons.  Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell. CANNOTANSWER

Question: What year was Matt Groening's Life in Hell published?
Answer: 1978.
Matt Groening

Context: Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year.  Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons.  Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell. CANNOTANSWER

Question: Was Life in Hell by Matt Groening a one time publication or an ongoing thing?
Answer: Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books,
Matt Groening

Context: Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year.  Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons.  Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell. CANNOTANSWER

Question: Is Life in Hell still being published?
Answer: " he announced that the June 16, 2012 strip would mark Life in Hell's conclusion.
Matt Groening

Context: Groening described life in Los Angeles to his friends in the form of the self-published comic book Life in Hell, which was loosely inspired by the chapter "How to Go to Hell" in Walter Kaufmann's book Critique of Religion and Philosophy. Groening distributed the comic book in the book corner of Licorice Pizza, a record store in which he worked. He made his first professional cartoon sale to the avant-garde Wet magazine in 1978. The strip, titled "Forbidden Words," appeared in the September/October issue of that year.  Groening had gained employment at the Los Angeles Reader, a newly formed alternative newspaper, delivering papers, typesetting, editing and answering phones. He showed his cartoons to the editor, James Vowell, who was impressed and eventually gave him a spot in the paper. Life in Hell made its official debut as a comic strip in the Reader on April 25, 1980. Vowell also gave Groening his own weekly music column, "Sound Mix," in 1982. However, the column would rarely actually be about music, as he would often write about his "various enthusiasms, obsessions, pet peeves and problems" instead. In an effort to add more music to the column, he "just made stuff up," concocting and reviewing fictional bands and nonexistent records. In the following week's column, he would confess to fabricating everything in the previous column and swear that everything in the new column was true. Eventually, he was finally asked to give up the "music" column. Among the fans of the column was Harry Shearer, who would later become a voice on The Simpsons.  Life in Hell became popular almost immediately. In November 1984, Deborah Caplan, Groening's then-girlfriend and co-worker at the Reader, offered to publish "Love is Hell", a series of relationship-themed Life in Hell strips, in book form. Released a month later, the book was an underground success, selling 22,000 copies in its first two printings. Work is Hell soon followed, also published by Caplan. Soon afterward, Caplan and Groening left and put together the Life in Hell Co., which handled merchandising for Life in Hell. Groening also started Acme Features Syndicate, which syndicated Life in Hell, Lynda Barry and John Callahan, but now only syndicates Life in Hell. At the end of its run, Life in Hell was carried in 250 weekly newspapers and has been anthologized in a series of books, including School is Hell, Childhood is Hell, The Big Book of Hell, and The Huge Book of Hell. Although Groening has stated, "I'll never give up the comic strip. It's my foundation," he announced that the June 16, 2012 strip would mark Life in Hell's conclusion. After Groening ended the strip, the Center for Cartoon Studies commissioned a poster that was presented to Groening in honor of his work. The poster contained tribute cartoons by 22 of Groening's cartoonist friends who were influenced by Life in Hell. CANNOTANSWER

Question: Was Life in Hell a popular comic book?
Answer: Life in Hell became popular almost immediately. In