gaussalgo/Canard_Wiki-augmented huggingface dataset:
Hedy Lamarr

Context: Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Gertrud "Trude" Kiesler (nee Lichtwitz; 1894-1977) and Emil Kiesler (1880-1935). Her father was born to a Jewish family in Lemberg (now Lviv in Ukraine) and was a successful bank director.  Her mother Gertrud was a pianist and Budapest native who came from an upper-class Jewish family; she had converted from Judaism to Catholicism and was described as a "practicing Christian", who raised her daughter as a Christian. Lamarr helped get her mother out of Austria (then under Nazi domination) and to the United States, and she later became an American citizen. Gertrud Kiesler put "Hebrew" as her race on her petition for naturalization as an American citizen.  In the late 1920s, Lamarr was discovered as an actress and brought to Berlin by producer Max Reinhardt. Following her training in the theater, she returned to Vienna to work in the film industry, first as a script girl, and soon as an actress. In early 1933, at age 18, she starred in Gustav Machaty's film, Ecstasy (Ekstase in German, Extase in Czech). Her role was that of a neglected young wife married to an indifferent older man. The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.  Although she was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award in Rome. Throughout Europe, the film was considered an artistic work, while in America, it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.  She went on to play a number of stage roles, including a starring one in Sissy, a play about Austrian royalty produced in Vienna, which won accolades from critics. Admirers sent roses to her dressing room and tried to get backstage to meet her. She sent most of them away, including a man who was more insistent, Friedrich Mandl. He became obsessed with getting to know her. She fell for his charming and fascinating personality, partly due to his immense financial status. Her parents, both of Jewish descent, did not approve, due to Mandl's ties to Mussolini, and later, Hitler, but could not stop the headstrong Hedy. CANNOTANSWER

Question: how did Hedy Lamarr's name shorten?
Answer: CANNOTANSWER
Hedy Lamarr

Context: Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Gertrud "Trude" Kiesler (nee Lichtwitz; 1894-1977) and Emil Kiesler (1880-1935). Her father was born to a Jewish family in Lemberg (now Lviv in Ukraine) and was a successful bank director.  Her mother Gertrud was a pianist and Budapest native who came from an upper-class Jewish family; she had converted from Judaism to Catholicism and was described as a "practicing Christian", who raised her daughter as a Christian. Lamarr helped get her mother out of Austria (then under Nazi domination) and to the United States, and she later became an American citizen. Gertrud Kiesler put "Hebrew" as her race on her petition for naturalization as an American citizen.  In the late 1920s, Lamarr was discovered as an actress and brought to Berlin by producer Max Reinhardt. Following her training in the theater, she returned to Vienna to work in the film industry, first as a script girl, and soon as an actress. In early 1933, at age 18, she starred in Gustav Machaty's film, Ecstasy (Ekstase in German, Extase in Czech). Her role was that of a neglected young wife married to an indifferent older man. The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.  Although she was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award in Rome. Throughout Europe, the film was considered an artistic work, while in America, it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.  She went on to play a number of stage roles, including a starring one in Sissy, a play about Austrian royalty produced in Vienna, which won accolades from critics. Admirers sent roses to her dressing room and tried to get backstage to meet her. She sent most of them away, including a man who was more insistent, Friedrich Mandl. He became obsessed with getting to know her. She fell for his charming and fascinating personality, partly due to his immense financial status. Her parents, both of Jewish descent, did not approve, due to Mandl's ties to Mussolini, and later, Hitler, but could not stop the headstrong Hedy. CANNOTANSWER

Question: what was Hedy Lamarr's early life like?
Answer: ", who raised her daughter as a Christian. Lamarr helped get her mother out of Austria (then under Nazi domination)
Hedy Lamarr

Context: Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Gertrud "Trude" Kiesler (nee Lichtwitz; 1894-1977) and Emil Kiesler (1880-1935). Her father was born to a Jewish family in Lemberg (now Lviv in Ukraine) and was a successful bank director.  Her mother Gertrud was a pianist and Budapest native who came from an upper-class Jewish family; she had converted from Judaism to Catholicism and was described as a "practicing Christian", who raised her daughter as a Christian. Lamarr helped get her mother out of Austria (then under Nazi domination) and to the United States, and she later became an American citizen. Gertrud Kiesler put "Hebrew" as her race on her petition for naturalization as an American citizen.  In the late 1920s, Lamarr was discovered as an actress and brought to Berlin by producer Max Reinhardt. Following her training in the theater, she returned to Vienna to work in the film industry, first as a script girl, and soon as an actress. In early 1933, at age 18, she starred in Gustav Machaty's film, Ecstasy (Ekstase in German, Extase in Czech). Her role was that of a neglected young wife married to an indifferent older man. The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.  Although she was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award in Rome. Throughout Europe, the film was considered an artistic work, while in America, it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.  She went on to play a number of stage roles, including a starring one in Sissy, a play about Austrian royalty produced in Vienna, which won accolades from critics. Admirers sent roses to her dressing room and tried to get backstage to meet her. She sent most of them away, including a man who was more insistent, Friedrich Mandl. He became obsessed with getting to know her. She fell for his charming and fascinating personality, partly due to his immense financial status. Her parents, both of Jewish descent, did not approve, due to Mandl's ties to Mussolini, and later, Hitler, but could not stop the headstrong Hedy. CANNOTANSWER

Question: Are there any other interesting aspects about this article besides Hedy Lamarr's early life?
Answer: In the late 1920s, Lamarr was discovered as an actress and brought to Berlin by producer Max Reinhardt.
Hedy Lamarr

Context: Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Gertrud "Trude" Kiesler (nee Lichtwitz; 1894-1977) and Emil Kiesler (1880-1935). Her father was born to a Jewish family in Lemberg (now Lviv in Ukraine) and was a successful bank director.  Her mother Gertrud was a pianist and Budapest native who came from an upper-class Jewish family; she had converted from Judaism to Catholicism and was described as a "practicing Christian", who raised her daughter as a Christian. Lamarr helped get her mother out of Austria (then under Nazi domination) and to the United States, and she later became an American citizen. Gertrud Kiesler put "Hebrew" as her race on her petition for naturalization as an American citizen.  In the late 1920s, Lamarr was discovered as an actress and brought to Berlin by producer Max Reinhardt. Following her training in the theater, she returned to Vienna to work in the film industry, first as a script girl, and soon as an actress. In early 1933, at age 18, she starred in Gustav Machaty's film, Ecstasy (Ekstase in German, Extase in Czech). Her role was that of a neglected young wife married to an indifferent older man. The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.  Although she was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award in Rome. Throughout Europe, the film was considered an artistic work, while in America, it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.  She went on to play a number of stage roles, including a starring one in Sissy, a play about Austrian royalty produced in Vienna, which won accolades from critics. Admirers sent roses to her dressing room and tried to get backstage to meet her. She sent most of them away, including a man who was more insistent, Friedrich Mandl. He became obsessed with getting to know her. She fell for his charming and fascinating personality, partly due to his immense financial status. Her parents, both of Jewish descent, did not approve, due to Mandl's ties to Mussolini, and later, Hitler, but could not stop the headstrong Hedy. CANNOTANSWER

Question: what was some of Hedy Lamarr's work?
Answer: In early 1933, at age 18, she starred in Gustav Machaty's film, Ecstasy (Ekstase in German, Extase in Czech).
Allen Toussaint

Context: The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair.  After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer also came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.  After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint also recorded and co-wrote songs with Allen Orange in the early 1960s. CANNOTANSWER

Question: Where did Allen Toussaint grow up?
Answer: grew up in a shotgun house in the Gert Town neighborhood,
Allen Toussaint

Context: The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair.  After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer also came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.  After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint also recorded and co-wrote songs with Allen Orange in the early 1960s. CANNOTANSWER

Question: Did Allen Toussaint move out of the dangerous Gert Town?
Answer: CANNOTANSWER
Allen Toussaint

Context: The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair.  After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer also came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.  After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint also recorded and co-wrote songs with Allen Orange in the early 1960s. CANNOTANSWER

Question: Did Allen Toussaint have any siblings?
Answer: CANNOTANSWER
Allen Toussaint

Context: The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair.  After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer also came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.  After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint also recorded and co-wrote songs with Allen Orange in the early 1960s. CANNOTANSWER

Question: How did Allen Toussaint's career start?
Answer: After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama,
Allen Toussaint

Context: The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair.  After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer also came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers.  After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint also recorded and co-wrote songs with Allen Orange in the early 1960s. CANNOTANSWER

Question: What was Earl King's band named?
Answer: CANNOTANSWER
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: What happened in 1991?
Answer: CANNOTANSWER
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: What were the early years of Point of Grace?
Answer: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma,
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: How long did Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd perform at Ouachita Baptist University?
Answer: They then moved to Nashville to start work on what would become their self-titled debut album.
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: Were Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd signed by a label?
Answer: sign with Word Records.
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: What year were Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd signed a World Records?
Answer: 1992
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: Besides World Records, Was there anything else you found interesting?
Answer: The Ouachitones,' which was made up of 14 girls.
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: What part did Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd play in the Ouachitones?
Answer: Within the group, the girls formed a trio,
Point of Grace

Context: Point of Grace was formed at Ouachita Baptist University in Arkadelphia, Arkansas. Denise Masters, Terry Lang and Heather Floyd, who knew each other from Norman, Oklahoma, coincidentally found themselves at OBU, and got involved in music. They sang in a vocal group called 'The Ouachitones,' which was made up of 14 girls. Within the group, the girls formed a trio, and after a sound check for an Ouachitones performance, the girls were singing a cappella when they were told by an onlooker that they should do something together. Shelley Phillips had come from Little Rock, Arkansas to OBU with a scholarship in vocal performance. She sang in a group called the Praise Singers, made up of four girls and four guys and they traveled around the country performing concerts. She became friends with Terry and Heather through Denise, who was her roommate and sister in the social club Chi Delta. After Heather, Terry and Denise made plans to form a trio and sing together over the summer, Denise went back to her dorm room and told Shelley about their summer plans. After Shelley suggested that the trio became a quartet, it seemed to be the perfect fit.  They called themselves Say So, taken after Psalm 107:2 where it says, "Let the redeemed of the Lord say so." It was a do-it-yourself project, and group's tasks were delegated according to ability. Heather took care of publicity and album sales, Terry took care of the money, Shelley was in charge of booking and Denise was in charge of music. Before their performances, they were the ones who would haul their equipment onstage and set it up. They developed a following that summer, and spent the remainder of the year singing every weekend. After many fan requests, they recorded an independent album, and became favorites in the South and Midwest. Despite not seeing a reason to pursue a major record deal, the girls, encouraged by their family members, attended the 1992 Music in the Rockies Christian Artists Seminar in Estes Park, Colorado. They wowed the crowd and the judges when they performed "He's The Best Thing" and wound up winning the Overall Grand Prize in the Group competition.  The girls found that, after their performance, there was major record label interest, and the group decided to sign with Word Records. They then moved to Nashville to start work on what would become their self-titled debut album. CANNOTANSWER

Question: When did The 'Ouachitones' happen?
Answer: CANNOTANSWER
Burlesque

Context: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation.  In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.  Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.  17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire.  In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition. CANNOTANSWER

Question: What was the literary origins of Burlesque?
Answer: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century,
Burlesque

Context: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation.  In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.  Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.  17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire.  In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition. CANNOTANSWER

Question: What was the development of Burlesque?
Answer: it referred to a grotesque imitation of the dignified or pathetic.