gaussalgo/Canard_Wiki-augmented huggingface dataset:
Def Leppard

Context: Rick Savage, Tony Kenning, and Pete Willis, all students at Tapton School in Sheffield, South Yorkshire, formed a band called Atomic Mass in 1977. The band originally consisted of Willis on guitar, Savage on bass (after originally playing guitar), and Kenning on drums. Only 18 at the time, Joe Elliott tried out for the band as a guitarist following a chance meeting with Willis after missing a bus, in November 1977. During his audition it was decided that he was better suited to be the lead singer. Their first ever gig was in the dining hall in A Block in Westfield School in Mosborough, Sheffield.  The band adopted a name proposed by Elliott, "Deaf Leopard", which was originally a band name he thought up while writing reviews for imaginary rock bands in his English class (and in at least partial reference to Led Zeppelin). At Kenning's suggestion, the spelling was slightly modified in order to make the name seem less like that of a punk band. In January 1978, Steve Clark joined the band. According to Elliott, he successfully auditioned for the band by playing Lynyrd Skynyrd's "Free Bird" in its entirety.  In November, just prior to recording sessions for what would be a three-song release known as The Def Leppard E.P., Kenning abruptly left the band; he would later form the band Cairo. He was replaced for those sessions by Frank Noon. By the end of the month, Rick Allen, then only 15 years old, had joined the band as its full-time drummer. Sales of the EP soared after the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel, considered at the time to be a champion of punk rock and new wave music.  Throughout 1979, the band developed a loyal following among British hard rock and heavy metal fans and were considered among the leaders of the new wave of British heavy metal movement. Their growing popularity led to a record deal with the major label Phonogram/Vertigo (Mercury Records in the US). Def Leppard's original management, MSB, a local duo consisting of Pete Martin and Frank Stuart-Brown, were fired after Martin and Joe Elliott got into a fistfight over an incident on the road. The band approached Peter Mensch of Leber-Krebs management, who had booked them on a tour of the UK supporting AC/DC. Mensch, who admitted that he had had his eye on the band, became their manager. CANNOTANSWER

Question: Did the band Atomic Mass turn into Def Leppard?
Answer: The band adopted a name proposed by Elliott, "Deaf Leopard
Def Leppard

Context: Rick Savage, Tony Kenning, and Pete Willis, all students at Tapton School in Sheffield, South Yorkshire, formed a band called Atomic Mass in 1977. The band originally consisted of Willis on guitar, Savage on bass (after originally playing guitar), and Kenning on drums. Only 18 at the time, Joe Elliott tried out for the band as a guitarist following a chance meeting with Willis after missing a bus, in November 1977. During his audition it was decided that he was better suited to be the lead singer. Their first ever gig was in the dining hall in A Block in Westfield School in Mosborough, Sheffield.  The band adopted a name proposed by Elliott, "Deaf Leopard", which was originally a band name he thought up while writing reviews for imaginary rock bands in his English class (and in at least partial reference to Led Zeppelin). At Kenning's suggestion, the spelling was slightly modified in order to make the name seem less like that of a punk band. In January 1978, Steve Clark joined the band. According to Elliott, he successfully auditioned for the band by playing Lynyrd Skynyrd's "Free Bird" in its entirety.  In November, just prior to recording sessions for what would be a three-song release known as The Def Leppard E.P., Kenning abruptly left the band; he would later form the band Cairo. He was replaced for those sessions by Frank Noon. By the end of the month, Rick Allen, then only 15 years old, had joined the band as its full-time drummer. Sales of the EP soared after the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel, considered at the time to be a champion of punk rock and new wave music.  Throughout 1979, the band developed a loyal following among British hard rock and heavy metal fans and were considered among the leaders of the new wave of British heavy metal movement. Their growing popularity led to a record deal with the major label Phonogram/Vertigo (Mercury Records in the US). Def Leppard's original management, MSB, a local duo consisting of Pete Martin and Frank Stuart-Brown, were fired after Martin and Joe Elliott got into a fistfight over an incident on the road. The band approached Peter Mensch of Leber-Krebs management, who had booked them on a tour of the UK supporting AC/DC. Mensch, who admitted that he had had his eye on the band, became their manager. CANNOTANSWER

Question: Why did Rick Savage, Tony Kenning, and Pete Willis rename the band Atomic Mass to Def Leppard?
Answer: in at least partial reference to Led Zeppelin
Def Leppard

Context: Rick Savage, Tony Kenning, and Pete Willis, all students at Tapton School in Sheffield, South Yorkshire, formed a band called Atomic Mass in 1977. The band originally consisted of Willis on guitar, Savage on bass (after originally playing guitar), and Kenning on drums. Only 18 at the time, Joe Elliott tried out for the band as a guitarist following a chance meeting with Willis after missing a bus, in November 1977. During his audition it was decided that he was better suited to be the lead singer. Their first ever gig was in the dining hall in A Block in Westfield School in Mosborough, Sheffield.  The band adopted a name proposed by Elliott, "Deaf Leopard", which was originally a band name he thought up while writing reviews for imaginary rock bands in his English class (and in at least partial reference to Led Zeppelin). At Kenning's suggestion, the spelling was slightly modified in order to make the name seem less like that of a punk band. In January 1978, Steve Clark joined the band. According to Elliott, he successfully auditioned for the band by playing Lynyrd Skynyrd's "Free Bird" in its entirety.  In November, just prior to recording sessions for what would be a three-song release known as The Def Leppard E.P., Kenning abruptly left the band; he would later form the band Cairo. He was replaced for those sessions by Frank Noon. By the end of the month, Rick Allen, then only 15 years old, had joined the band as its full-time drummer. Sales of the EP soared after the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel, considered at the time to be a champion of punk rock and new wave music.  Throughout 1979, the band developed a loyal following among British hard rock and heavy metal fans and were considered among the leaders of the new wave of British heavy metal movement. Their growing popularity led to a record deal with the major label Phonogram/Vertigo (Mercury Records in the US). Def Leppard's original management, MSB, a local duo consisting of Pete Martin and Frank Stuart-Brown, were fired after Martin and Joe Elliott got into a fistfight over an incident on the road. The band approached Peter Mensch of Leber-Krebs management, who had booked them on a tour of the UK supporting AC/DC. Mensch, who admitted that he had had his eye on the band, became their manager. CANNOTANSWER

Question: What year Rick Savage, Tony Kenning, and Pete Willis rename the band Atomic Mass to Def Leppard?
Answer: November 1977.
Def Leppard

Context: Rick Savage, Tony Kenning, and Pete Willis, all students at Tapton School in Sheffield, South Yorkshire, formed a band called Atomic Mass in 1977. The band originally consisted of Willis on guitar, Savage on bass (after originally playing guitar), and Kenning on drums. Only 18 at the time, Joe Elliott tried out for the band as a guitarist following a chance meeting with Willis after missing a bus, in November 1977. During his audition it was decided that he was better suited to be the lead singer. Their first ever gig was in the dining hall in A Block in Westfield School in Mosborough, Sheffield.  The band adopted a name proposed by Elliott, "Deaf Leopard", which was originally a band name he thought up while writing reviews for imaginary rock bands in his English class (and in at least partial reference to Led Zeppelin). At Kenning's suggestion, the spelling was slightly modified in order to make the name seem less like that of a punk band. In January 1978, Steve Clark joined the band. According to Elliott, he successfully auditioned for the band by playing Lynyrd Skynyrd's "Free Bird" in its entirety.  In November, just prior to recording sessions for what would be a three-song release known as The Def Leppard E.P., Kenning abruptly left the band; he would later form the band Cairo. He was replaced for those sessions by Frank Noon. By the end of the month, Rick Allen, then only 15 years old, had joined the band as its full-time drummer. Sales of the EP soared after the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel, considered at the time to be a champion of punk rock and new wave music.  Throughout 1979, the band developed a loyal following among British hard rock and heavy metal fans and were considered among the leaders of the new wave of British heavy metal movement. Their growing popularity led to a record deal with the major label Phonogram/Vertigo (Mercury Records in the US). Def Leppard's original management, MSB, a local duo consisting of Pete Martin and Frank Stuart-Brown, were fired after Martin and Joe Elliott got into a fistfight over an incident on the road. The band approached Peter Mensch of Leber-Krebs management, who had booked them on a tour of the UK supporting AC/DC. Mensch, who admitted that he had had his eye on the band, became their manager. CANNOTANSWER

Question: What did Rick Savage, Tony Kenning, and Pete Willis do after renaming the band Atomic Mass to Def Leppard?
Answer: a three-song release known as The Def Leppard E.P.,
Def Leppard

Context: Rick Savage, Tony Kenning, and Pete Willis, all students at Tapton School in Sheffield, South Yorkshire, formed a band called Atomic Mass in 1977. The band originally consisted of Willis on guitar, Savage on bass (after originally playing guitar), and Kenning on drums. Only 18 at the time, Joe Elliott tried out for the band as a guitarist following a chance meeting with Willis after missing a bus, in November 1977. During his audition it was decided that he was better suited to be the lead singer. Their first ever gig was in the dining hall in A Block in Westfield School in Mosborough, Sheffield.  The band adopted a name proposed by Elliott, "Deaf Leopard", which was originally a band name he thought up while writing reviews for imaginary rock bands in his English class (and in at least partial reference to Led Zeppelin). At Kenning's suggestion, the spelling was slightly modified in order to make the name seem less like that of a punk band. In January 1978, Steve Clark joined the band. According to Elliott, he successfully auditioned for the band by playing Lynyrd Skynyrd's "Free Bird" in its entirety.  In November, just prior to recording sessions for what would be a three-song release known as The Def Leppard E.P., Kenning abruptly left the band; he would later form the band Cairo. He was replaced for those sessions by Frank Noon. By the end of the month, Rick Allen, then only 15 years old, had joined the band as its full-time drummer. Sales of the EP soared after the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel, considered at the time to be a champion of punk rock and new wave music.  Throughout 1979, the band developed a loyal following among British hard rock and heavy metal fans and were considered among the leaders of the new wave of British heavy metal movement. Their growing popularity led to a record deal with the major label Phonogram/Vertigo (Mercury Records in the US). Def Leppard's original management, MSB, a local duo consisting of Pete Martin and Frank Stuart-Brown, were fired after Martin and Joe Elliott got into a fistfight over an incident on the road. The band approached Peter Mensch of Leber-Krebs management, who had booked them on a tour of the UK supporting AC/DC. Mensch, who admitted that he had had his eye on the band, became their manager. CANNOTANSWER

Question: How was changing the name of the band Atomic Mass to Def Leppard received by the public?
Answer: Sales of the EP soared
Def Leppard

Context: Rick Savage, Tony Kenning, and Pete Willis, all students at Tapton School in Sheffield, South Yorkshire, formed a band called Atomic Mass in 1977. The band originally consisted of Willis on guitar, Savage on bass (after originally playing guitar), and Kenning on drums. Only 18 at the time, Joe Elliott tried out for the band as a guitarist following a chance meeting with Willis after missing a bus, in November 1977. During his audition it was decided that he was better suited to be the lead singer. Their first ever gig was in the dining hall in A Block in Westfield School in Mosborough, Sheffield.  The band adopted a name proposed by Elliott, "Deaf Leopard", which was originally a band name he thought up while writing reviews for imaginary rock bands in his English class (and in at least partial reference to Led Zeppelin). At Kenning's suggestion, the spelling was slightly modified in order to make the name seem less like that of a punk band. In January 1978, Steve Clark joined the band. According to Elliott, he successfully auditioned for the band by playing Lynyrd Skynyrd's "Free Bird" in its entirety.  In November, just prior to recording sessions for what would be a three-song release known as The Def Leppard E.P., Kenning abruptly left the band; he would later form the band Cairo. He was replaced for those sessions by Frank Noon. By the end of the month, Rick Allen, then only 15 years old, had joined the band as its full-time drummer. Sales of the EP soared after the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel, considered at the time to be a champion of punk rock and new wave music.  Throughout 1979, the band developed a loyal following among British hard rock and heavy metal fans and were considered among the leaders of the new wave of British heavy metal movement. Their growing popularity led to a record deal with the major label Phonogram/Vertigo (Mercury Records in the US). Def Leppard's original management, MSB, a local duo consisting of Pete Martin and Frank Stuart-Brown, were fired after Martin and Joe Elliott got into a fistfight over an incident on the road. The band approached Peter Mensch of Leber-Krebs management, who had booked them on a tour of the UK supporting AC/DC. Mensch, who admitted that he had had his eye on the band, became their manager. CANNOTANSWER

Question: Did the Def Leppard album go high on the charts?
Answer: the track "Getcha Rocks Off" was given extensive airtime by renowned BBC Radio 1 DJ John Peel,
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: What are tone poems?
Answer: which displays a new kind of virtuosity in its bravura orchestral manner.
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: What was the name of one of Richard Strauss's tone poems?
Answer: Don Juan (1888),
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: What was the name of Richard Strauss's tone poems besides Don Juan?
Answer: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898),
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: Did Richard Strauss have any more tone poems besides Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Thus Spoke Zarathustra, Don Quixote, and Ein Heldenleben?
Answer: Symphonia Domestica (1903) and An Alpine Symphony (1911-1915).
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: What was one of Richard Strauss's orchestral works?
Answer: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884).
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: Were Richard Strauss's works well received?
Answer: One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: Besides commentator remarks on Richard Strauss's works, are there any other interesting aspects about this article?
Answer: James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893.
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: What caused the shift in Richard Strauss's tone poem technique between 1892 and 1893?
Answer: It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem,
Richard Strauss

Context: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. CANNOTANSWER

Question: Why was Richard Strauss more critical of the institution of the symphony and the symphonic poem after rejecting Schopenhauer's philosophy?
Answer: thereby differentiating the second cycle of tone poems from the first.
The Temptations

Context: Eddie Kendricks and Paul Williams started singing together in church as children. By their teenage years, they formed a doo-wop quartet in 1955 with Kell Osborne and Wiley Waller, naming themselves the Cavaliers.  After Waller left the group in 1957, the remaining trio left Birmingham to break into the music business. The group settled in Detroit where they changed their name to the Primes under the direction of Milton Jenkins. The Primes soon became well known around the Detroit area for their meticulous performances. Jenkins later created a sister group, The Primettes, later known as the Supremes. Kendricks was already seen as a "matinee idol" in the Detroit area while Williams was well received for his baritone vocals. Texas teenager Otis Williams moved to Detroit as a youngster to be with his mother.  By 1958, Williams was the leader of a vocal group named Otis Williams and the Siberians. The group included Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain and Arthur Walton. The group recorded a song, "Pecos Kid" for a label run by radio deejay Senator Bristol Bryant. Shortly after its release, the group changed its name to The El Domingoes. Following this, Montgomery native Melvin Franklin replaced Arthur Walton as bass vocalist and Detroit-born Richard Street (claimed by Melvin Franklin to be his cousin) replaced Vernard Plain as lead singer. Signing with Johnnie Mae Matthews' Northern Records, the group had their name changed again to The Distants.  The group recorded two Northern singles including "Come On" (1959) and "Alright" (1960). Between these releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford. "Come On" became a local hit and the Warwick Records label picked the record up for national distribution. Following the release of "Alright", Matthews appointed Williams the group leader, and the group's name was changed to Otis Williams & The Distants. During this period, both the Primes and Distants were influenced by other vocal groups including the Miracles. Other inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers. Though "Come On" was a local hit in the Detroit area, the Distants never saw much record sales and "Alright" was not as successful. After receiving an offer from Berry Gordy to sign with Motown Records, the Distants got out of their contract with Northern Records. However, Mooch Harrell and Richard Street shortly departed from the group and the remaining members lost use of the Distants name. Richard Street later formed another Distants group who recorded for the Thelma label in the early 1960s. CANNOTANSWER

Question: Who was in the band The Temptations?
Answer: Eddie Kendricks and Paul Williams
The Temptations

Context: Eddie Kendricks and Paul Williams started singing together in church as children. By their teenage years, they formed a doo-wop quartet in 1955 with Kell Osborne and Wiley Waller, naming themselves the Cavaliers.  After Waller left the group in 1957, the remaining trio left Birmingham to break into the music business. The group settled in Detroit where they changed their name to the Primes under the direction of Milton Jenkins. The Primes soon became well known around the Detroit area for their meticulous performances. Jenkins later created a sister group, The Primettes, later known as the Supremes. Kendricks was already seen as a "matinee idol" in the Detroit area while Williams was well received for his baritone vocals. Texas teenager Otis Williams moved to Detroit as a youngster to be with his mother.  By 1958, Williams was the leader of a vocal group named Otis Williams and the Siberians. The group included Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain and Arthur Walton. The group recorded a song, "Pecos Kid" for a label run by radio deejay Senator Bristol Bryant. Shortly after its release, the group changed its name to The El Domingoes. Following this, Montgomery native Melvin Franklin replaced Arthur Walton as bass vocalist and Detroit-born Richard Street (claimed by Melvin Franklin to be his cousin) replaced Vernard Plain as lead singer. Signing with Johnnie Mae Matthews' Northern Records, the group had their name changed again to The Distants.  The group recorded two Northern singles including "Come On" (1959) and "Alright" (1960). Between these releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford. "Come On" became a local hit and the Warwick Records label picked the record up for national distribution. Following the release of "Alright", Matthews appointed Williams the group leader, and the group's name was changed to Otis Williams & The Distants. During this period, both the Primes and Distants were influenced by other vocal groups including the Miracles. Other inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers. Though "Come On" was a local hit in the Detroit area, the Distants never saw much record sales and "Alright" was not as successful. After receiving an offer from Berry Gordy to sign with Motown Records, the Distants got out of their contract with Northern Records. However, Mooch Harrell and Richard Street shortly departed from the group and the remaining members lost use of the Distants name. Richard Street later formed another Distants group who recorded for the Thelma label in the early 1960s. CANNOTANSWER

Question: Where were Eddie Kendricks and Paul Williams from?
Answer: Birmingham
The Temptations

Context: Eddie Kendricks and Paul Williams started singing together in church as children. By their teenage years, they formed a doo-wop quartet in 1955 with Kell Osborne and Wiley Waller, naming themselves the Cavaliers.  After Waller left the group in 1957, the remaining trio left Birmingham to break into the music business. The group settled in Detroit where they changed their name to the Primes under the direction of Milton Jenkins. The Primes soon became well known around the Detroit area for their meticulous performances. Jenkins later created a sister group, The Primettes, later known as the Supremes. Kendricks was already seen as a "matinee idol" in the Detroit area while Williams was well received for his baritone vocals. Texas teenager Otis Williams moved to Detroit as a youngster to be with his mother.  By 1958, Williams was the leader of a vocal group named Otis Williams and the Siberians. The group included Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain and Arthur Walton. The group recorded a song, "Pecos Kid" for a label run by radio deejay Senator Bristol Bryant. Shortly after its release, the group changed its name to The El Domingoes. Following this, Montgomery native Melvin Franklin replaced Arthur Walton as bass vocalist and Detroit-born Richard Street (claimed by Melvin Franklin to be his cousin) replaced Vernard Plain as lead singer. Signing with Johnnie Mae Matthews' Northern Records, the group had their name changed again to The Distants.  The group recorded two Northern singles including "Come On" (1959) and "Alright" (1960). Between these releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford. "Come On" became a local hit and the Warwick Records label picked the record up for national distribution. Following the release of "Alright", Matthews appointed Williams the group leader, and the group's name was changed to Otis Williams & The Distants. During this period, both the Primes and Distants were influenced by other vocal groups including the Miracles. Other inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers. Though "Come On" was a local hit in the Detroit area, the Distants never saw much record sales and "Alright" was not as successful. After receiving an offer from Berry Gordy to sign with Motown Records, the Distants got out of their contract with Northern Records. However, Mooch Harrell and Richard Street shortly departed from the group and the remaining members lost use of the Distants name. Richard Street later formed another Distants group who recorded for the Thelma label in the early 1960s. CANNOTANSWER

Question: How did Eddie Kendricks and Paul Williams get started?
Answer: By their teenage years, they formed a doo-wop quartet in 1955 with Kell Osborne and Wiley Waller, naming themselves the Cavaliers.
The Temptations

Context: Eddie Kendricks and Paul Williams started singing together in church as children. By their teenage years, they formed a doo-wop quartet in 1955 with Kell Osborne and Wiley Waller, naming themselves the Cavaliers.  After Waller left the group in 1957, the remaining trio left Birmingham to break into the music business. The group settled in Detroit where they changed their name to the Primes under the direction of Milton Jenkins. The Primes soon became well known around the Detroit area for their meticulous performances. Jenkins later created a sister group, The Primettes, later known as the Supremes. Kendricks was already seen as a "matinee idol" in the Detroit area while Williams was well received for his baritone vocals. Texas teenager Otis Williams moved to Detroit as a youngster to be with his mother.  By 1958, Williams was the leader of a vocal group named Otis Williams and the Siberians. The group included Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain and Arthur Walton. The group recorded a song, "Pecos Kid" for a label run by radio deejay Senator Bristol Bryant. Shortly after its release, the group changed its name to The El Domingoes. Following this, Montgomery native Melvin Franklin replaced Arthur Walton as bass vocalist and Detroit-born Richard Street (claimed by Melvin Franklin to be his cousin) replaced Vernard Plain as lead singer. Signing with Johnnie Mae Matthews' Northern Records, the group had their name changed again to The Distants.  The group recorded two Northern singles including "Come On" (1959) and "Alright" (1960). Between these releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford. "Come On" became a local hit and the Warwick Records label picked the record up for national distribution. Following the release of "Alright", Matthews appointed Williams the group leader, and the group's name was changed to Otis Williams & The Distants. During this period, both the Primes and Distants were influenced by other vocal groups including the Miracles. Other inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers. Though "Come On" was a local hit in the Detroit area, the Distants never saw much record sales and "Alright" was not as successful. After receiving an offer from Berry Gordy to sign with Motown Records, the Distants got out of their contract with Northern Records. However, Mooch Harrell and Richard Street shortly departed from the group and the remaining members lost use of the Distants name. Richard Street later formed another Distants group who recorded for the Thelma label in the early 1960s. CANNOTANSWER

Question: How successful were Eddie Kendricks and Paul Williams as the Cavaliers?
Answer: The group settled in Detroit where they changed their name to the Primes under the direction of Milton Jenkins.
The Temptations

Context: Eddie Kendricks and Paul Williams started singing together in church as children. By their teenage years, they formed a doo-wop quartet in 1955 with Kell Osborne and Wiley Waller, naming themselves the Cavaliers.  After Waller left the group in 1957, the remaining trio left Birmingham to break into the music business. The group settled in Detroit where they changed their name to the Primes under the direction of Milton Jenkins. The Primes soon became well known around the Detroit area for their meticulous performances. Jenkins later created a sister group, The Primettes, later known as the Supremes. Kendricks was already seen as a "matinee idol" in the Detroit area while Williams was well received for his baritone vocals. Texas teenager Otis Williams moved to Detroit as a youngster to be with his mother.  By 1958, Williams was the leader of a vocal group named Otis Williams and the Siberians. The group included Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain and Arthur Walton. The group recorded a song, "Pecos Kid" for a label run by radio deejay Senator Bristol Bryant. Shortly after its release, the group changed its name to The El Domingoes. Following this, Montgomery native Melvin Franklin replaced Arthur Walton as bass vocalist and Detroit-born Richard Street (claimed by Melvin Franklin to be his cousin) replaced Vernard Plain as lead singer. Signing with Johnnie Mae Matthews' Northern Records, the group had their name changed again to The Distants.  The group recorded two Northern singles including "Come On" (1959) and "Alright" (1960). Between these releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford. "Come On" became a local hit and the Warwick Records label picked the record up for national distribution. Following the release of "Alright", Matthews appointed Williams the group leader, and the group's name was changed to Otis Williams & The Distants. During this period, both the Primes and Distants were influenced by other vocal groups including the Miracles. Other inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers. Though "Come On" was a local hit in the Detroit area, the Distants never saw much record sales and "Alright" was not as successful. After receiving an offer from Berry Gordy to sign with Motown Records, the Distants got out of their contract with Northern Records. However, Mooch Harrell and Richard Street shortly departed from the group and the remaining members lost use of the Distants name. Richard Street later formed another Distants group who recorded for the Thelma label in the early 1960s. CANNOTANSWER

Question: Did the Primes have any hits?
Answer: The Primes soon became well known around the Detroit area for their meticulous performances.