gaussalgo/Canard_Wiki-augmented huggingface dataset:
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: In addition to Robert Walls coaching the Brisbane Bears, is there any other interesting aspects about this article?
Answer: as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: What was the cause of the Brisbane Bears beating Shane Stremple?
Answer: as disciplinary action
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: Why was Shane Stremple disciplined?
Answer: CANNOTANSWER
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: How did the Shane Stremple take to being disciplined?
Answer: Strempel quit playing football.
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: Were any Brisbane Bears arrested for the assault of Shane Stemple?
Answer: CANNOTANSWER
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: What happened to Robert Walls after the brutal beating?
Answer: Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.
Robert Walls

Context: Walls coached the Brisbane Bears from 1991-1995. It took until the early 2000s for Robert's style of coaching to surface as a method that had become outdated, and criticised in the football and wider community. Robert would coach Brisbane Bears for 109 games (30 wins - 78 losses - 1 draw).  It was revealed in the video "Passion To Play" that in Walls first year as Bears coach in 1991, as disciplinary action Walls authorised his players to don boxing gloves and beat 21-year-old teammate Shane Strempel repetitively in the head until he was severely bashed and bloodied after which Strempel quit playing football. Walls' coaching style was criticised about the incident by Kevin Sheedy who has several times questioned his credibility as a football coach.  In his last season, 1995, he had been told after Round 15 that with 4 wins and 11 losses for the season, he would not be re-appointed for 1996. But a major turning point in the season for the Bears soon came. In Round 16, against Hawthorn, Brisbane trailed by 45 points at 3-quarter time and ended up winning by 7, which remains a VFL/AFL record for the biggest 3-quarter time deficit turned into a win.  From there, the Bears continued their run and won 6 of their next 7 games. They found themselves in eighth position, and qualifying for the finals, after being second-last just 7 weeks earlier. They faced Carlton, the top ranked side in week one of the finals, and went down by just 13 points, a monumental achievement considering Carlton won the next two weeks by more than 10 goals to claim the premiership. Despite this turnaround, a change of heart was not considered, and Walls moved to Richmond the following year to coach. CANNOTANSWER

Question: When did Robert Walls retire?
Answer: CANNOTANSWER
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: What is psychedelia and krautrock?
Answer: psychedelic rock-styled
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: Did Tangerine Dream put out albums with the psychedelia and krautrock sound?
Answer: Froese experimented with musical ideas, playing smaller gigs with a variety of musicians.
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: Were the Tangerine Dream albums well-received?
Answer: one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali.
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: Did Tangerine Dream win awards for their music?
Answer: using the technology of the time rather than the synthesized music they later became famous for.
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: How many were in the Tangerine Dream band making psychedelia and krautrock music?
Answer: As members of the group came and went, the direction of the music continued to be inspired by the Surrealists,
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: Besides Tangerine Dream, are there any other interesting information pieces about psychedelia and krautrock?
Answer: The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece,
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: What's a tape-collage krautrock piece mean?
Answer: He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later.
Tangerine Dream

Context: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds."  Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival.  The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period. CANNOTANSWER

Question: Who played the custom-made instruments?
Answer: Froese was fascinated by technology and skilled in using it to create music.
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: what was significant about Graphics by Chicago?
Answer: The album cover series has endured as a cataloged work of art in its own right,
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: was the name of the Chicago album Graphics?
Answer: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo.
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: why did Chicago change their names?
Answer: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born;
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: what were some of the artwork in graphics album by Chicago?
Answer: it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII,
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: what was the artwork on part I of Graphics by Chicago?
Answer: The logo would serve as the band's chief visual icon from Chicago II, onward.