gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jan Smuts

Context: The Union of South Africa was born, and the Afrikaners held the key to political power, as the majority of the electorate. Although Botha was appointed prime minister of the new country, Smuts was given three key ministries: Interior, Mines, and Defence. Undeniably, Smuts was the second most powerful man in South Africa. To solidify their dominance of South African politics, the Afrikaners united to form the South African Party, a new pan-South African Afrikaner party.  The harmony and cooperation soon ended. Smuts was criticised for his overarching powers, and the cabinet was reshuffled. Smuts lost Interior and Mines, but gained control of Finance. This was still too much for Smuts' opponents, who decried his possession of both Defence and Finance: two departments that were usually at loggerheads. At the 1913 South African Party conference, the Old Boers (Hertzog, Steyn, De Wet), called for Botha and Smuts to step down. The two narrowly survived a confidence vote, and the troublesome triumvirate stormed out, leaving the party for good.  With the schism in internal party politics came a new threat to the mines that brought South Africa its wealth. A small-scale miners' dispute flared into a full-blown strike, and rioting broke out in Johannesburg after Smuts intervened heavy-handedly. After police shot dead twenty-one strikers, Smuts and Botha headed unaccompanied to Johannesburg to resolve the situation personally. Facing down threats to their own lives, they negotiated a cease-fire. But the cease-fire did not hold, and in 1914, a railway strike turned into a general strike. Threats of a revolution caused Smuts to declare martial law. Smuts acted ruthlessly, deporting union leaders without trial and using Parliament to absolve him and the government of any blame retroactively. This was too much for the Old Boers, who set up their own National Party to fight the all-powerful Botha-Smuts partnership. CANNOTANSWER

Question: Did Africa gain wealth?
Answer: Smuts lost Interior and Mines, but gained control of Finance.
Jan Smuts

Context: The Union of South Africa was born, and the Afrikaners held the key to political power, as the majority of the electorate. Although Botha was appointed prime minister of the new country, Smuts was given three key ministries: Interior, Mines, and Defence. Undeniably, Smuts was the second most powerful man in South Africa. To solidify their dominance of South African politics, the Afrikaners united to form the South African Party, a new pan-South African Afrikaner party.  The harmony and cooperation soon ended. Smuts was criticised for his overarching powers, and the cabinet was reshuffled. Smuts lost Interior and Mines, but gained control of Finance. This was still too much for Smuts' opponents, who decried his possession of both Defence and Finance: two departments that were usually at loggerheads. At the 1913 South African Party conference, the Old Boers (Hertzog, Steyn, De Wet), called for Botha and Smuts to step down. The two narrowly survived a confidence vote, and the troublesome triumvirate stormed out, leaving the party for good.  With the schism in internal party politics came a new threat to the mines that brought South Africa its wealth. A small-scale miners' dispute flared into a full-blown strike, and rioting broke out in Johannesburg after Smuts intervened heavy-handedly. After police shot dead twenty-one strikers, Smuts and Botha headed unaccompanied to Johannesburg to resolve the situation personally. Facing down threats to their own lives, they negotiated a cease-fire. But the cease-fire did not hold, and in 1914, a railway strike turned into a general strike. Threats of a revolution caused Smuts to declare martial law. Smuts acted ruthlessly, deporting union leaders without trial and using Parliament to absolve him and the government of any blame retroactively. This was too much for the Old Boers, who set up their own National Party to fight the all-powerful Botha-Smuts partnership. CANNOTANSWER

Question: When did Jan Smuts gain control over France?
Answer: This was too much for the Old Boers, who set up their own National Party to fight the all-powerful Botha-Smuts partnership.
Jan Smuts

Context: The Union of South Africa was born, and the Afrikaners held the key to political power, as the majority of the electorate. Although Botha was appointed prime minister of the new country, Smuts was given three key ministries: Interior, Mines, and Defence. Undeniably, Smuts was the second most powerful man in South Africa. To solidify their dominance of South African politics, the Afrikaners united to form the South African Party, a new pan-South African Afrikaner party.  The harmony and cooperation soon ended. Smuts was criticised for his overarching powers, and the cabinet was reshuffled. Smuts lost Interior and Mines, but gained control of Finance. This was still too much for Smuts' opponents, who decried his possession of both Defence and Finance: two departments that were usually at loggerheads. At the 1913 South African Party conference, the Old Boers (Hertzog, Steyn, De Wet), called for Botha and Smuts to step down. The two narrowly survived a confidence vote, and the troublesome triumvirate stormed out, leaving the party for good.  With the schism in internal party politics came a new threat to the mines that brought South Africa its wealth. A small-scale miners' dispute flared into a full-blown strike, and rioting broke out in Johannesburg after Smuts intervened heavy-handedly. After police shot dead twenty-one strikers, Smuts and Botha headed unaccompanied to Johannesburg to resolve the situation personally. Facing down threats to their own lives, they negotiated a cease-fire. But the cease-fire did not hold, and in 1914, a railway strike turned into a general strike. Threats of a revolution caused Smuts to declare martial law. Smuts acted ruthlessly, deporting union leaders without trial and using Parliament to absolve him and the government of any blame retroactively. This was too much for the Old Boers, who set up their own National Party to fight the all-powerful Botha-Smuts partnership. CANNOTANSWER

Question: What year did Jan Smuts try to gain control over France?
Answer: CANNOTANSWER
Montel Vontavious Porter

Context: Assad has a son from a short-lived relationship.  In August 2007, Assad was diagnosed with Wolff-Parkinson-White syndrome, a rare condition that causes the heart to beat faster than normal. The condition was discovered during his tenure with WWE, when he had undergone a routine check-up in accordance with WWE's Talent Wellness Policy, which otherwise would have gone undetected until it was too late.  Assad has acquired numerous tattoos through his life, including; a portrait of Malcolm X on the upper left portion of his chest, the sarcophagus of King Tut and pyramids on his left upper biceps, the legend "Monte Cristo" along with the phrase "The best revenge is living well" in script on his right forearm (both references to the book The Count of Monte Cristo), and an Eye of Horus on the back of his left arm. He also has a star on his right shoulder. He also has a number of homemade gang related tattoos that he had done when he was a teenager.  Assad has stated that he was a video game fan growing up, and that the finishing maneuver he used on the independent circuit, the Malicious Intent, was inspired by a similar move performed by Eddy Gordo from the Tekken series. He has been a fan of Manchester United F.C. since he was 13, and his favorite player is Eric Cantona. Despite his earlier conversion to Islam, Assad has since described himself as a nonbeliever and an atheist.  Assad trains Brazilian Jiu Jitsu. He was recently promoted to Purple Belt after winning the gold medal at the Houston Open in the Masters 3 Ultra Heavyweight Division. He also won gold in the Open Division at the Houston Open. CANNOTANSWER

Question: How did Montel get into wrestling?
Answer: CANNOTANSWER
Montel Vontavious Porter

Context: Assad has a son from a short-lived relationship.  In August 2007, Assad was diagnosed with Wolff-Parkinson-White syndrome, a rare condition that causes the heart to beat faster than normal. The condition was discovered during his tenure with WWE, when he had undergone a routine check-up in accordance with WWE's Talent Wellness Policy, which otherwise would have gone undetected until it was too late.  Assad has acquired numerous tattoos through his life, including; a portrait of Malcolm X on the upper left portion of his chest, the sarcophagus of King Tut and pyramids on his left upper biceps, the legend "Monte Cristo" along with the phrase "The best revenge is living well" in script on his right forearm (both references to the book The Count of Monte Cristo), and an Eye of Horus on the back of his left arm. He also has a star on his right shoulder. He also has a number of homemade gang related tattoos that he had done when he was a teenager.  Assad has stated that he was a video game fan growing up, and that the finishing maneuver he used on the independent circuit, the Malicious Intent, was inspired by a similar move performed by Eddy Gordo from the Tekken series. He has been a fan of Manchester United F.C. since he was 13, and his favorite player is Eric Cantona. Despite his earlier conversion to Islam, Assad has since described himself as a nonbeliever and an atheist.  Assad trains Brazilian Jiu Jitsu. He was recently promoted to Purple Belt after winning the gold medal at the Houston Open in the Masters 3 Ultra Heavyweight Division. He also won gold in the Open Division at the Houston Open. CANNOTANSWER

Question: What was Montel's job when young?
Answer: CANNOTANSWER
Montel Vontavious Porter

Context: Assad has a son from a short-lived relationship.  In August 2007, Assad was diagnosed with Wolff-Parkinson-White syndrome, a rare condition that causes the heart to beat faster than normal. The condition was discovered during his tenure with WWE, when he had undergone a routine check-up in accordance with WWE's Talent Wellness Policy, which otherwise would have gone undetected until it was too late.  Assad has acquired numerous tattoos through his life, including; a portrait of Malcolm X on the upper left portion of his chest, the sarcophagus of King Tut and pyramids on his left upper biceps, the legend "Monte Cristo" along with the phrase "The best revenge is living well" in script on his right forearm (both references to the book The Count of Monte Cristo), and an Eye of Horus on the back of his left arm. He also has a star on his right shoulder. He also has a number of homemade gang related tattoos that he had done when he was a teenager.  Assad has stated that he was a video game fan growing up, and that the finishing maneuver he used on the independent circuit, the Malicious Intent, was inspired by a similar move performed by Eddy Gordo from the Tekken series. He has been a fan of Manchester United F.C. since he was 13, and his favorite player is Eric Cantona. Despite his earlier conversion to Islam, Assad has since described himself as a nonbeliever and an atheist.  Assad trains Brazilian Jiu Jitsu. He was recently promoted to Purple Belt after winning the gold medal at the Houston Open in the Masters 3 Ultra Heavyweight Division. He also won gold in the Open Division at the Houston Open. CANNOTANSWER

Question: Are there any other interesting aspects about this article aside from Montel's job as a youth and when wrestling began?
Answer: He has been a fan of Manchester United F.C. since he was 13,
Montel Vontavious Porter

Context: Assad has a son from a short-lived relationship.  In August 2007, Assad was diagnosed with Wolff-Parkinson-White syndrome, a rare condition that causes the heart to beat faster than normal. The condition was discovered during his tenure with WWE, when he had undergone a routine check-up in accordance with WWE's Talent Wellness Policy, which otherwise would have gone undetected until it was too late.  Assad has acquired numerous tattoos through his life, including; a portrait of Malcolm X on the upper left portion of his chest, the sarcophagus of King Tut and pyramids on his left upper biceps, the legend "Monte Cristo" along with the phrase "The best revenge is living well" in script on his right forearm (both references to the book The Count of Monte Cristo), and an Eye of Horus on the back of his left arm. He also has a star on his right shoulder. He also has a number of homemade gang related tattoos that he had done when he was a teenager.  Assad has stated that he was a video game fan growing up, and that the finishing maneuver he used on the independent circuit, the Malicious Intent, was inspired by a similar move performed by Eddy Gordo from the Tekken series. He has been a fan of Manchester United F.C. since he was 13, and his favorite player is Eric Cantona. Despite his earlier conversion to Islam, Assad has since described himself as a nonbeliever and an atheist.  Assad trains Brazilian Jiu Jitsu. He was recently promoted to Purple Belt after winning the gold medal at the Houston Open in the Masters 3 Ultra Heavyweight Division. He also won gold in the Open Division at the Houston Open. CANNOTANSWER

Question: Was Montel Vontavious Porter ever married?
Answer: Assad has a son from a short-lived relationship.
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: How did Diplo and M.I.A meet?
Answer: After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London.
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: What was the outcome of the meeting between Diplo and M.I.A?
Answer: The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: Did Diplo and M.I.A record any albums together?
Answer: Piracy Funds Terrorism Vol. 1.,
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: How did Diplo and M.I.A's album do?
Answer: mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media.
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: Did Diplo and M.I.A release any albums other than Piracy Funds Terrism?
Answer: Grammy-nominated track "Paper Planes",
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: Why didn't Diplo and M.I.A continue to perform together?
Answer: Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful.
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: How successful was Diplo and M.I.A's song "Paper Planes"?
Answer: peaking at number 4 on the Billboard Hot 100.
Diplo

Context: Main article; M.I.A.  After hearing one of his songs in 2004, M.I.A. approached Diplo when he was DJing one night at the Fabric Club in London. Coincidentally, Diplo was playing her songs "Galang" and "Fire Fire" as she entered the club, which he got from a worker at i-D magazine. Diplo added, "She came through and she wanted to meet me 'cause she'd heard my single and the funk mix from one of her A&Rs and she just thought I was right up her alley. Besides me being a white dude from Florida and her being a Sri Lankan girl in England, everything else was the same: [We were both] film graduates, [listened to] all the same music when we were kids, were going in the same direction right now in music, it was amazing... I always wanted to make a beat with her, but all my beats were really shitty at the time." The two eventually collaborated on a mixtape, Piracy Funds Terrorism Vol. 1., where Arular track acapellas were mashed with other artists' songs and was mentioned as 'Albums of the Year' from the New York Times and Pitchfork Media. The two continued to work together after the release. He was the tour DJ on her 2005 Arular Tour.  Diplo continued to work with M.I.A. and, through her, met London DJ Switch. Together, they created the Grammy-nominated track "Paper Planes", peaking at number 4 on the Billboard Hot 100. In 2015, during an interview with Rolling Stone, M.I.A said that Diplo resented her rise to fame in 2005, that he tried to hold her back, and fought with her about becoming successful. CANNOTANSWER

Question: Anything else interesting about Diplo and M.I.A other than the Billboard Hot 100?
Answer: He was the tour DJ on her 2005 Arular Tour.
Hit 'Em Up

Context: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with Vibe Magazine concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  He ain't mad at the niggas that shot him; he knows where they're at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he's not stepping to them, because he knows that he's not gonna get away with that shit. To me, that's some real sucker shit. Be mad at everybody, man; don't be using niggas as scapegoats. We know that he's a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album Hell on Earth. Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)". CANNOTANSWER

Question: Which artist featured in Hit 'Em Up?
Answer: CANNOTANSWER
Hit 'Em Up

Context: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with Vibe Magazine concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  He ain't mad at the niggas that shot him; he knows where they're at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he's not stepping to them, because he knows that he's not gonna get away with that shit. To me, that's some real sucker shit. Be mad at everybody, man; don't be using niggas as scapegoats. We know that he's a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album Hell on Earth. Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)". CANNOTANSWER

Question: Which artist love Hit 'Em Up?
Answer: " Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him.
Hit 'Em Up

Context: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with Vibe Magazine concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  He ain't mad at the niggas that shot him; he knows where they're at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he's not stepping to them, because he knows that he's not gonna get away with that shit. To me, that's some real sucker shit. Be mad at everybody, man; don't be using niggas as scapegoats. We know that he's a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album Hell on Earth. Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)". CANNOTANSWER

Question: When was Hit 'Em Up released?
Answer: CANNOTANSWER
Hit 'Em Up

Context: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with Vibe Magazine concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  He ain't mad at the niggas that shot him; he knows where they're at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he's not stepping to them, because he knows that he's not gonna get away with that shit. To me, that's some real sucker shit. Be mad at everybody, man; don't be using niggas as scapegoats. We know that he's a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album Hell on Earth. Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)". CANNOTANSWER

Question: Was Hit 'Em Up criticised?
Answer: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up".
Hit 'Em Up

Context: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with Vibe Magazine concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  He ain't mad at the niggas that shot him; he knows where they're at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he's not stepping to them, because he knows that he's not gonna get away with that shit. To me, that's some real sucker shit. Be mad at everybody, man; don't be using niggas as scapegoats. We know that he's a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album Hell on Earth. Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)". CANNOTANSWER

Question: Anything important about Hit 'Em Up?
Answer: reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends",
Hit 'Em Up

Context: Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with Vibe Magazine concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  He ain't mad at the niggas that shot him; he knows where they're at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he's not stepping to them, because he knows that he's not gonna get away with that shit. To me, that's some real sucker shit. Be mad at everybody, man; don't be using niggas as scapegoats. We know that he's a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album Hell on Earth. Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)". CANNOTANSWER

Question: Where was Hit 'Em Up played?
Answer: CANNOTANSWER
Fairport Convention

Context: The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on.  In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.'  At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band. CANNOTANSWER

Question: What happened at the Fairport Convention in 1986?
Answer: The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album.
Fairport Convention

Context: The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on.  In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.'  At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band. CANNOTANSWER

Question: Which new album did Fairport Convention prepare for?
Answer: The result was the all-instrumental Expletive Delighted! (
Fairport Convention

Context: The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on.  In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.'  At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band. CANNOTANSWER

Question: Was the Expletive Delighted! album a hit?
Answer: CANNOTANSWER