gaussalgo/Canard_Wiki-augmented huggingface dataset:
Propagandhi

Context: In 1986, Samolesky and Hannah recruited original bassist Scott Hopper via a "progressive thrash band looking for bass player" flyer posted in a local record shop. Hopper was replaced three years later by Mike Braumeister, which completed the first lineup to perform live. After the band established itself through several demos and larger shows, including one with Fugazi, Braumeister moved to Vancouver, and John K. Samson became the band's third bassist.  In 1992, Propagandhi played a show with California punk rock band NOFX and included in their set a cover version of Cheap Trick's "I Want You to Want Me". Impressed by their performance, NOFX front man Fat Mike signed them to his independent record label Fat Wreck Chords. The band later accompanied him to Los Angeles, where they recorded their debut album, How to Clean Everything, released in 1993. The band spent the next three years touring and issuing several smaller releases, including the How to Clean a Couple o' Things single on Fat Wreck Chords, a split 10" record with I Spy, a split 7" with F.Y.P, and the double 7" Where Quality is Job No. 1, the latter three on Recess Records.  In 1996, they recorded and released their second album, Less Talk, More Rock, via Fat Wreck Chords. The title was ironic, as they had become well known for lengthy song explanations and speeches during live performances. The album was more politicized than its predecessor, with such song titles as "Apparently, I'm a 'P.C. Fascist' (Because I Care About Both Human and Non-Human Animals)", "Nailing Descartes to the Wall/(Liquid) Meat Is Still Murder", and "... And We Thought Nation-States Were a Bad Idea". Ramsey Kanaan, founder of the anarchist publishing company AK Press, appears on "A Public Dis-Service Announcement from Shell" as the voice of the petroleum multinational. Partial proceeds of the album were donated to AK and other activist groups. Less Talk, More Rock caused some controversy at the time of its release due to the band's pro feminism and "gay positive" stance which, according to Hannah, clashed with the sexist and homophobic culture of the West Coast punk rock scene that the band had become associated with . CANNOTANSWER

Question: In addition to Propagandhi recording 'I'm A P.C. Fascist', are there any other interesting aspects about this article?
Answer: Hannah, clashed with the sexist and homophobic culture
Propagandhi

Context: In 1986, Samolesky and Hannah recruited original bassist Scott Hopper via a "progressive thrash band looking for bass player" flyer posted in a local record shop. Hopper was replaced three years later by Mike Braumeister, which completed the first lineup to perform live. After the band established itself through several demos and larger shows, including one with Fugazi, Braumeister moved to Vancouver, and John K. Samson became the band's third bassist.  In 1992, Propagandhi played a show with California punk rock band NOFX and included in their set a cover version of Cheap Trick's "I Want You to Want Me". Impressed by their performance, NOFX front man Fat Mike signed them to his independent record label Fat Wreck Chords. The band later accompanied him to Los Angeles, where they recorded their debut album, How to Clean Everything, released in 1993. The band spent the next three years touring and issuing several smaller releases, including the How to Clean a Couple o' Things single on Fat Wreck Chords, a split 10" record with I Spy, a split 7" with F.Y.P, and the double 7" Where Quality is Job No. 1, the latter three on Recess Records.  In 1996, they recorded and released their second album, Less Talk, More Rock, via Fat Wreck Chords. The title was ironic, as they had become well known for lengthy song explanations and speeches during live performances. The album was more politicized than its predecessor, with such song titles as "Apparently, I'm a 'P.C. Fascist' (Because I Care About Both Human and Non-Human Animals)", "Nailing Descartes to the Wall/(Liquid) Meat Is Still Murder", and "... And We Thought Nation-States Were a Bad Idea". Ramsey Kanaan, founder of the anarchist publishing company AK Press, appears on "A Public Dis-Service Announcement from Shell" as the voice of the petroleum multinational. Partial proceeds of the album were donated to AK and other activist groups. Less Talk, More Rock caused some controversy at the time of its release due to the band's pro feminism and "gay positive" stance which, according to Hannah, clashed with the sexist and homophobic culture of the West Coast punk rock scene that the band had become associated with . CANNOTANSWER

Question: How did Hannah from Propagandhi clash with the sexist and homophobic culture specifically?
Answer: CANNOTANSWER
Vangelis

Context: While still in Aphrodite's Child, Vangelis had already been involved in other projects. In the 1960s he scored music for three Greek films My Brother, the Traffic Policeman (1963) directed by Filippos Fylaktos, 5,000 Lies (1966) by Giorgos Konstantinou, To Prosopo tis Medousas (1967) by Nikos Koundouros. In 1970 composed the score for Sex-Power directed by Henry Chapier, as well again for Salut, Jerusalem (1972) and Amore (1974).  In 1971, some jam sessions with a group of musicians in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis and The Dragon. Vangelis succeeded in taking legal action to have them withdrawn. A more successful project was his scoring of wildlife documentary films in the early 1970s made by French filmmaker Frederic Rossif. The first soundtrack L'Apocalypse des animaux was released in 1973. In 1972, the student riots of 1968 provided the inspiration for an album titled Fais que ton reve soit plus long que la nuit (Make Your Dream Last Longer Than the Night), comprising musical passages mixed with news snippets and protest songs; some lyrics were based on graffiti daubed on walls during the riots. He also did music for the 1973 Henry Chapier film Amore.  In 1973 Vangelis' solo career began in earnest. His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones. It featured a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (better known as F.R. David of "Words" fame). This line-up, later briefly going out under the name "Odyssey", released a single in 1974 titled "Who", but that was Vangelis' last involvement with them. Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis wavered on the option of joining Yes, and the band had to detour and hire Swiss keyboard player Patrick Moraz instead, who later joined the Moody Blues. Vangelis did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis. CANNOTANSWER

Question: Which music was Vangelis interested in?
Answer: Greek
Vangelis

Context: While still in Aphrodite's Child, Vangelis had already been involved in other projects. In the 1960s he scored music for three Greek films My Brother, the Traffic Policeman (1963) directed by Filippos Fylaktos, 5,000 Lies (1966) by Giorgos Konstantinou, To Prosopo tis Medousas (1967) by Nikos Koundouros. In 1970 composed the score for Sex-Power directed by Henry Chapier, as well again for Salut, Jerusalem (1972) and Amore (1974).  In 1971, some jam sessions with a group of musicians in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis and The Dragon. Vangelis succeeded in taking legal action to have them withdrawn. A more successful project was his scoring of wildlife documentary films in the early 1970s made by French filmmaker Frederic Rossif. The first soundtrack L'Apocalypse des animaux was released in 1973. In 1972, the student riots of 1968 provided the inspiration for an album titled Fais que ton reve soit plus long que la nuit (Make Your Dream Last Longer Than the Night), comprising musical passages mixed with news snippets and protest songs; some lyrics were based on graffiti daubed on walls during the riots. He also did music for the 1973 Henry Chapier film Amore.  In 1973 Vangelis' solo career began in earnest. His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones. It featured a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (better known as F.R. David of "Words" fame). This line-up, later briefly going out under the name "Odyssey", released a single in 1974 titled "Who", but that was Vangelis' last involvement with them. Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis wavered on the option of joining Yes, and the band had to detour and hire Swiss keyboard player Patrick Moraz instead, who later joined the Moody Blues. Vangelis did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis. CANNOTANSWER

Question: Did Vangelis win an award?
Answer: CANNOTANSWER
Vangelis

Context: While still in Aphrodite's Child, Vangelis had already been involved in other projects. In the 1960s he scored music for three Greek films My Brother, the Traffic Policeman (1963) directed by Filippos Fylaktos, 5,000 Lies (1966) by Giorgos Konstantinou, To Prosopo tis Medousas (1967) by Nikos Koundouros. In 1970 composed the score for Sex-Power directed by Henry Chapier, as well again for Salut, Jerusalem (1972) and Amore (1974).  In 1971, some jam sessions with a group of musicians in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis and The Dragon. Vangelis succeeded in taking legal action to have them withdrawn. A more successful project was his scoring of wildlife documentary films in the early 1970s made by French filmmaker Frederic Rossif. The first soundtrack L'Apocalypse des animaux was released in 1973. In 1972, the student riots of 1968 provided the inspiration for an album titled Fais que ton reve soit plus long que la nuit (Make Your Dream Last Longer Than the Night), comprising musical passages mixed with news snippets and protest songs; some lyrics were based on graffiti daubed on walls during the riots. He also did music for the 1973 Henry Chapier film Amore.  In 1973 Vangelis' solo career began in earnest. His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones. It featured a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (better known as F.R. David of "Words" fame). This line-up, later briefly going out under the name "Odyssey", released a single in 1974 titled "Who", but that was Vangelis' last involvement with them. Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis wavered on the option of joining Yes, and the band had to detour and hire Swiss keyboard player Patrick Moraz instead, who later joined the Moody Blues. Vangelis did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis. CANNOTANSWER

Question: Which country was Vangelis' group popular in?
Answer: In 1971, some jam sessions with a group of musicians in London had resulted in two albums' worth of material,
Vangelis

Context: While still in Aphrodite's Child, Vangelis had already been involved in other projects. In the 1960s he scored music for three Greek films My Brother, the Traffic Policeman (1963) directed by Filippos Fylaktos, 5,000 Lies (1966) by Giorgos Konstantinou, To Prosopo tis Medousas (1967) by Nikos Koundouros. In 1970 composed the score for Sex-Power directed by Henry Chapier, as well again for Salut, Jerusalem (1972) and Amore (1974).  In 1971, some jam sessions with a group of musicians in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis and The Dragon. Vangelis succeeded in taking legal action to have them withdrawn. A more successful project was his scoring of wildlife documentary films in the early 1970s made by French filmmaker Frederic Rossif. The first soundtrack L'Apocalypse des animaux was released in 1973. In 1972, the student riots of 1968 provided the inspiration for an album titled Fais que ton reve soit plus long que la nuit (Make Your Dream Last Longer Than the Night), comprising musical passages mixed with news snippets and protest songs; some lyrics were based on graffiti daubed on walls during the riots. He also did music for the 1973 Henry Chapier film Amore.  In 1973 Vangelis' solo career began in earnest. His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones. It featured a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (better known as F.R. David of "Words" fame). This line-up, later briefly going out under the name "Odyssey", released a single in 1974 titled "Who", but that was Vangelis' last involvement with them. Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis wavered on the option of joining Yes, and the band had to detour and hire Swiss keyboard player Patrick Moraz instead, who later joined the Moody Blues. Vangelis did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis. CANNOTANSWER

Question: Which of Vangelis' albums were famous in Europe?
Answer: His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones.
Vangelis

Context: While still in Aphrodite's Child, Vangelis had already been involved in other projects. In the 1960s he scored music for three Greek films My Brother, the Traffic Policeman (1963) directed by Filippos Fylaktos, 5,000 Lies (1966) by Giorgos Konstantinou, To Prosopo tis Medousas (1967) by Nikos Koundouros. In 1970 composed the score for Sex-Power directed by Henry Chapier, as well again for Salut, Jerusalem (1972) and Amore (1974).  In 1971, some jam sessions with a group of musicians in London had resulted in two albums' worth of material, unofficially released without Vangelis' permission in 1978, titled Hypothesis and The Dragon. Vangelis succeeded in taking legal action to have them withdrawn. A more successful project was his scoring of wildlife documentary films in the early 1970s made by French filmmaker Frederic Rossif. The first soundtrack L'Apocalypse des animaux was released in 1973. In 1972, the student riots of 1968 provided the inspiration for an album titled Fais que ton reve soit plus long que la nuit (Make Your Dream Last Longer Than the Night), comprising musical passages mixed with news snippets and protest songs; some lyrics were based on graffiti daubed on walls during the riots. He also did music for the 1973 Henry Chapier film Amore.  In 1973 Vangelis' solo career began in earnest. His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones. It featured a group of musicians including ex-Aphrodite's Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (better known as F.R. David of "Words" fame). This line-up, later briefly going out under the name "Odyssey", released a single in 1974 titled "Who", but that was Vangelis' last involvement with them. Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis wavered on the option of joining Yes, and the band had to detour and hire Swiss keyboard player Patrick Moraz instead, who later joined the Moody Blues. Vangelis did, however, become friends with Yes' lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis. CANNOTANSWER

Question: What album did Vangelis release in 1972?
Answer: CANNOTANSWER
The Bangles

Context: The band started drifting back together in 1998, and officially re-formed to record a song for the soundtrack of Austin Powers: The Spy Who Shagged Me, at the behest of the film's director Jay Roach. The song chosen for the album was "Get The Girl" and was released in 1999. The reunion continued with a tour in 2000. Later the same year, the group was also inducted into the Vocal Group Hall of Fame. From 2001-2002, they were in the studio recording the album Doll Revolution at Icon Recording Studios, Hollywood, California. The album, featuring such songs as "Stealing Rosemary", "Ride the Ride", "Nickel Romeo", and the single "Something That You Said", was released in early 2003. The title track, which was written by Elvis Costello, was originally recorded for his 2002 album When I Was Cruel. Doll Revolution was a solid comeback success in Germany after the Bangles had performed in Germany's biggest television show Wetten dass, but failed to make any impact in other markets such as the UK, the U.S. and Australia. In July 2004, Paul McCartney presented the Bangles with "honorary rock'n'roll diplomas" from his Liverpool Institute for Performing Arts.  In 2005, The Bangles announced the departure of Michael Steele who left due to artistic disputes over touring and recording. Steele was replaced by touring bassist Abby Travis for live appearances. Eventually, Travis was fired. On December 31, 2005, the group performed "Hazy Shade of Winter" in front of Times Square and later "Eternal Flame" as part of Dick Clark's New Year's Rockin' Eve 2006. August 2007 saw the release of their first official live DVD, Return to Bangleonia - Live in Concert. In 2008, the band toured the US. Further dates included shows in Germany, the Netherlands, and at the popular Cornbury Festival in Oxfordshire, England.  In the spring of 2009, the Bangles returned to the studio to begin work on a new album entitled Sweetheart of the Sun which was released on September 27, 2011. The band went on tour in late 2011 in support of it, with dates on the East Coast, Midwest, and West Coast. Openers for the various dates included rock band Antigone Rising and power pop band A Fragile Tomorrow.  In December 2013, The Bangles played two nights with three other reunited Paisley Underground bands--The Dream Syndicate, The Three O'Clock, and Rain Parade--at The Fillmore in San Francisco and The Fonda Theatre in Los Angeles (benefit concert). Their set list focused on their early material, with remarks from the band at the beginning of the Fillmore show that they were going to be playing songs that they hadn't played in 30 years. In January 2014, they performed at the Whisky a Go Go in West Hollywood, California, in celebration of The Whisky's 50th anniversary.  In January 2018, The Bangles played their first show since 2016 at Honda Center in Anaheim. It also was the first reunion with original bassist Annette Zilinskas since 1983.[2] CANNOTANSWER

Question: Was Re-form an album?
Answer: The band started drifting back together in 1998, and officially re-formed to record a song for the soundtrack of Austin Powers:
The Bangles

Context: The band started drifting back together in 1998, and officially re-formed to record a song for the soundtrack of Austin Powers: The Spy Who Shagged Me, at the behest of the film's director Jay Roach. The song chosen for the album was "Get The Girl" and was released in 1999. The reunion continued with a tour in 2000. Later the same year, the group was also inducted into the Vocal Group Hall of Fame. From 2001-2002, they were in the studio recording the album Doll Revolution at Icon Recording Studios, Hollywood, California. The album, featuring such songs as "Stealing Rosemary", "Ride the Ride", "Nickel Romeo", and the single "Something That You Said", was released in early 2003. The title track, which was written by Elvis Costello, was originally recorded for his 2002 album When I Was Cruel. Doll Revolution was a solid comeback success in Germany after the Bangles had performed in Germany's biggest television show Wetten dass, but failed to make any impact in other markets such as the UK, the U.S. and Australia. In July 2004, Paul McCartney presented the Bangles with "honorary rock'n'roll diplomas" from his Liverpool Institute for Performing Arts.  In 2005, The Bangles announced the departure of Michael Steele who left due to artistic disputes over touring and recording. Steele was replaced by touring bassist Abby Travis for live appearances. Eventually, Travis was fired. On December 31, 2005, the group performed "Hazy Shade of Winter" in front of Times Square and later "Eternal Flame" as part of Dick Clark's New Year's Rockin' Eve 2006. August 2007 saw the release of their first official live DVD, Return to Bangleonia - Live in Concert. In 2008, the band toured the US. Further dates included shows in Germany, the Netherlands, and at the popular Cornbury Festival in Oxfordshire, England.  In the spring of 2009, the Bangles returned to the studio to begin work on a new album entitled Sweetheart of the Sun which was released on September 27, 2011. The band went on tour in late 2011 in support of it, with dates on the East Coast, Midwest, and West Coast. Openers for the various dates included rock band Antigone Rising and power pop band A Fragile Tomorrow.  In December 2013, The Bangles played two nights with three other reunited Paisley Underground bands--The Dream Syndicate, The Three O'Clock, and Rain Parade--at The Fillmore in San Francisco and The Fonda Theatre in Los Angeles (benefit concert). Their set list focused on their early material, with remarks from the band at the beginning of the Fillmore show that they were going to be playing songs that they hadn't played in 30 years. In January 2014, they performed at the Whisky a Go Go in West Hollywood, California, in celebration of The Whisky's 50th anniversary.  In January 2018, The Bangles played their first show since 2016 at Honda Center in Anaheim. It also was the first reunion with original bassist Annette Zilinskas since 1983.[2] CANNOTANSWER

Question: How did the The Bangles recording for the soundtrack of Austin Powers" The Spy Who Shagged Me" do?do?
Answer: Later the same year, the group was also inducted into the Vocal Group Hall of Fame.
The Bangles

Context: The band started drifting back together in 1998, and officially re-formed to record a song for the soundtrack of Austin Powers: The Spy Who Shagged Me, at the behest of the film's director Jay Roach. The song chosen for the album was "Get The Girl" and was released in 1999. The reunion continued with a tour in 2000. Later the same year, the group was also inducted into the Vocal Group Hall of Fame. From 2001-2002, they were in the studio recording the album Doll Revolution at Icon Recording Studios, Hollywood, California. The album, featuring such songs as "Stealing Rosemary", "Ride the Ride", "Nickel Romeo", and the single "Something That You Said", was released in early 2003. The title track, which was written by Elvis Costello, was originally recorded for his 2002 album When I Was Cruel. Doll Revolution was a solid comeback success in Germany after the Bangles had performed in Germany's biggest television show Wetten dass, but failed to make any impact in other markets such as the UK, the U.S. and Australia. In July 2004, Paul McCartney presented the Bangles with "honorary rock'n'roll diplomas" from his Liverpool Institute for Performing Arts.  In 2005, The Bangles announced the departure of Michael Steele who left due to artistic disputes over touring and recording. Steele was replaced by touring bassist Abby Travis for live appearances. Eventually, Travis was fired. On December 31, 2005, the group performed "Hazy Shade of Winter" in front of Times Square and later "Eternal Flame" as part of Dick Clark's New Year's Rockin' Eve 2006. August 2007 saw the release of their first official live DVD, Return to Bangleonia - Live in Concert. In 2008, the band toured the US. Further dates included shows in Germany, the Netherlands, and at the popular Cornbury Festival in Oxfordshire, England.  In the spring of 2009, the Bangles returned to the studio to begin work on a new album entitled Sweetheart of the Sun which was released on September 27, 2011. The band went on tour in late 2011 in support of it, with dates on the East Coast, Midwest, and West Coast. Openers for the various dates included rock band Antigone Rising and power pop band A Fragile Tomorrow.  In December 2013, The Bangles played two nights with three other reunited Paisley Underground bands--The Dream Syndicate, The Three O'Clock, and Rain Parade--at The Fillmore in San Francisco and The Fonda Theatre in Los Angeles (benefit concert). Their set list focused on their early material, with remarks from the band at the beginning of the Fillmore show that they were going to be playing songs that they hadn't played in 30 years. In January 2014, they performed at the Whisky a Go Go in West Hollywood, California, in celebration of The Whisky's 50th anniversary.  In January 2018, The Bangles played their first show since 2016 at Honda Center in Anaheim. It also was the first reunion with original bassist Annette Zilinskas since 1983.[2] CANNOTANSWER

Question: Did The Bangles group stay together?
Answer: In 2005, The Bangles announced the departure of Michael Steele who left due to artistic disputes over touring and recording.
Ruth Etting

Context: Etting was born in David City, Nebraska in 1897 to Alfred, a banker, and Winifred (nee Kleinhan) Etting. Her mother died when she was five years old and she then went to live with her paternal grandparents, George and Hannah Etting. Her father remarried and moved away from David City and was no longer a part of his daughter's life. Etting's grandfather, George, owned the Etting Roller Mills; to the delight of his granddaughter, George Etting allowed traveling circuses and shows to use the lot behind the mills for performances.  Etting was interested in drawing at an early age; she drew and sketched anywhere she was able. Her grandparents were asked to buy the textbooks she had used at the end of a school term because Etting had filled them with her drawings. She left David City at the age of sixteen to attend art school in Chicago. Etting got a job designing costumes at the Marigold Gardens nightclub, which led to employment singing and dancing in the chorus there. She gave up art school soon after going to work at Marigold Gardens. Before turning exclusively to performing, Etting worked as a designer for the owner of a costume shop in Chicago's Loop; she was successful enough to earn a partnership in the shop through her work.  While she enjoyed singing at school and in church, Etting never took voice lessons. She said that she had patterned her song styling after Marion Harris, but created her own unique style by alternating tempos and by varying some notes and phrases. Describing herself as a "high, squeaky soprano" during her days in David City, Etting developed a lower range singing voice after her arrival in Chicago which led to her success. Her big moment came when a featured vocalist suddenly became ill and was unable to perform. With no other replacement available, Etting was asked to fill in. She quickly changed into the costume and scanned the music arrangements; the performer was male, so Etting tried to adjust by singing in a lower register. She became a featured vocalist at the nightclub.  Etting described herself as a young, naive girl when she arrived in Chicago. Due to her inexperience in the ways of the big city, she became reliant on Snyder after their meeting. Etting and Snyder met in 1922, when she was performing at the Marigold Gardens. Snyder, who divorced his first wife to marry Etting, was well-acquainted with Chicago's nightclubs and the entertainers who worked in them; he once served as a bodyguard to Al Jolson. Snyder also used his political connections to get bookings for Etting, who was called "Miss City Hall" because of Snyder's influence in Chicago. Etting married gangster Martin "Moe the Gimp" Snyder on July 17, 1922 in Crown Point, Indiana. She later said she married him "nine-tenths out of fear and one-tenth out of pity." Etting later told her friends, "If I leave him, he'll kill me." He managed her career, booking radio appearances and eventually had her signed to an exclusive recording contract with Columbia Records. CANNOTANSWER

Question: What is the name of Ruth Etting's parents?
Answer: Alfred, a banker, and Winifred (nee Kleinhan) Etting.
Ruth Etting

Context: Etting was born in David City, Nebraska in 1897 to Alfred, a banker, and Winifred (nee Kleinhan) Etting. Her mother died when she was five years old and she then went to live with her paternal grandparents, George and Hannah Etting. Her father remarried and moved away from David City and was no longer a part of his daughter's life. Etting's grandfather, George, owned the Etting Roller Mills; to the delight of his granddaughter, George Etting allowed traveling circuses and shows to use the lot behind the mills for performances.  Etting was interested in drawing at an early age; she drew and sketched anywhere she was able. Her grandparents were asked to buy the textbooks she had used at the end of a school term because Etting had filled them with her drawings. She left David City at the age of sixteen to attend art school in Chicago. Etting got a job designing costumes at the Marigold Gardens nightclub, which led to employment singing and dancing in the chorus there. She gave up art school soon after going to work at Marigold Gardens. Before turning exclusively to performing, Etting worked as a designer for the owner of a costume shop in Chicago's Loop; she was successful enough to earn a partnership in the shop through her work.  While she enjoyed singing at school and in church, Etting never took voice lessons. She said that she had patterned her song styling after Marion Harris, but created her own unique style by alternating tempos and by varying some notes and phrases. Describing herself as a "high, squeaky soprano" during her days in David City, Etting developed a lower range singing voice after her arrival in Chicago which led to her success. Her big moment came when a featured vocalist suddenly became ill and was unable to perform. With no other replacement available, Etting was asked to fill in. She quickly changed into the costume and scanned the music arrangements; the performer was male, so Etting tried to adjust by singing in a lower register. She became a featured vocalist at the nightclub.  Etting described herself as a young, naive girl when she arrived in Chicago. Due to her inexperience in the ways of the big city, she became reliant on Snyder after their meeting. Etting and Snyder met in 1922, when she was performing at the Marigold Gardens. Snyder, who divorced his first wife to marry Etting, was well-acquainted with Chicago's nightclubs and the entertainers who worked in them; he once served as a bodyguard to Al Jolson. Snyder also used his political connections to get bookings for Etting, who was called "Miss City Hall" because of Snyder's influence in Chicago. Etting married gangster Martin "Moe the Gimp" Snyder on July 17, 1922 in Crown Point, Indiana. She later said she married him "nine-tenths out of fear and one-tenth out of pity." Etting later told her friends, "If I leave him, he'll kill me." He managed her career, booking radio appearances and eventually had her signed to an exclusive recording contract with Columbia Records. CANNOTANSWER

Question: Where did Ruth Etting go to school?
Answer: She left David City at the age of sixteen to attend art school in Chicago.
Ruth Etting

Context: Etting was born in David City, Nebraska in 1897 to Alfred, a banker, and Winifred (nee Kleinhan) Etting. Her mother died when she was five years old and she then went to live with her paternal grandparents, George and Hannah Etting. Her father remarried and moved away from David City and was no longer a part of his daughter's life. Etting's grandfather, George, owned the Etting Roller Mills; to the delight of his granddaughter, George Etting allowed traveling circuses and shows to use the lot behind the mills for performances.  Etting was interested in drawing at an early age; she drew and sketched anywhere she was able. Her grandparents were asked to buy the textbooks she had used at the end of a school term because Etting had filled them with her drawings. She left David City at the age of sixteen to attend art school in Chicago. Etting got a job designing costumes at the Marigold Gardens nightclub, which led to employment singing and dancing in the chorus there. She gave up art school soon after going to work at Marigold Gardens. Before turning exclusively to performing, Etting worked as a designer for the owner of a costume shop in Chicago's Loop; she was successful enough to earn a partnership in the shop through her work.  While she enjoyed singing at school and in church, Etting never took voice lessons. She said that she had patterned her song styling after Marion Harris, but created her own unique style by alternating tempos and by varying some notes and phrases. Describing herself as a "high, squeaky soprano" during her days in David City, Etting developed a lower range singing voice after her arrival in Chicago which led to her success. Her big moment came when a featured vocalist suddenly became ill and was unable to perform. With no other replacement available, Etting was asked to fill in. She quickly changed into the costume and scanned the music arrangements; the performer was male, so Etting tried to adjust by singing in a lower register. She became a featured vocalist at the nightclub.  Etting described herself as a young, naive girl when she arrived in Chicago. Due to her inexperience in the ways of the big city, she became reliant on Snyder after their meeting. Etting and Snyder met in 1922, when she was performing at the Marigold Gardens. Snyder, who divorced his first wife to marry Etting, was well-acquainted with Chicago's nightclubs and the entertainers who worked in them; he once served as a bodyguard to Al Jolson. Snyder also used his political connections to get bookings for Etting, who was called "Miss City Hall" because of Snyder's influence in Chicago. Etting married gangster Martin "Moe the Gimp" Snyder on July 17, 1922 in Crown Point, Indiana. She later said she married him "nine-tenths out of fear and one-tenth out of pity." Etting later told her friends, "If I leave him, he'll kill me." He managed her career, booking radio appearances and eventually had her signed to an exclusive recording contract with Columbia Records. CANNOTANSWER

Question: What was the first play that Ruth Etting performed in?
Answer: CANNOTANSWER
Ruth Etting

Context: Etting was born in David City, Nebraska in 1897 to Alfred, a banker, and Winifred (nee Kleinhan) Etting. Her mother died when she was five years old and she then went to live with her paternal grandparents, George and Hannah Etting. Her father remarried and moved away from David City and was no longer a part of his daughter's life. Etting's grandfather, George, owned the Etting Roller Mills; to the delight of his granddaughter, George Etting allowed traveling circuses and shows to use the lot behind the mills for performances.  Etting was interested in drawing at an early age; she drew and sketched anywhere she was able. Her grandparents were asked to buy the textbooks she had used at the end of a school term because Etting had filled them with her drawings. She left David City at the age of sixteen to attend art school in Chicago. Etting got a job designing costumes at the Marigold Gardens nightclub, which led to employment singing and dancing in the chorus there. She gave up art school soon after going to work at Marigold Gardens. Before turning exclusively to performing, Etting worked as a designer for the owner of a costume shop in Chicago's Loop; she was successful enough to earn a partnership in the shop through her work.  While she enjoyed singing at school and in church, Etting never took voice lessons. She said that she had patterned her song styling after Marion Harris, but created her own unique style by alternating tempos and by varying some notes and phrases. Describing herself as a "high, squeaky soprano" during her days in David City, Etting developed a lower range singing voice after her arrival in Chicago which led to her success. Her big moment came when a featured vocalist suddenly became ill and was unable to perform. With no other replacement available, Etting was asked to fill in. She quickly changed into the costume and scanned the music arrangements; the performer was male, so Etting tried to adjust by singing in a lower register. She became a featured vocalist at the nightclub.  Etting described herself as a young, naive girl when she arrived in Chicago. Due to her inexperience in the ways of the big city, she became reliant on Snyder after their meeting. Etting and Snyder met in 1922, when she was performing at the Marigold Gardens. Snyder, who divorced his first wife to marry Etting, was well-acquainted with Chicago's nightclubs and the entertainers who worked in them; he once served as a bodyguard to Al Jolson. Snyder also used his political connections to get bookings for Etting, who was called "Miss City Hall" because of Snyder's influence in Chicago. Etting married gangster Martin "Moe the Gimp" Snyder on July 17, 1922 in Crown Point, Indiana. She later said she married him "nine-tenths out of fear and one-tenth out of pity." Etting later told her friends, "If I leave him, he'll kill me." He managed her career, booking radio appearances and eventually had her signed to an exclusive recording contract with Columbia Records. CANNOTANSWER

Question: Did Ruth have any siblings?
Answer: CANNOTANSWER
Tosca

Context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.  Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."  Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.  In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment.  When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project. CANNOTANSWER

Question: What is the background of Tosca?
Answer: In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas.
Tosca

Context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.  Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."  Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.  In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment.  When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project. CANNOTANSWER

Question: Did Sarah Bernhardt play a role in Tosca?
Answer: His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe,
Tosca

Context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.  Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."  Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.  In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment.  When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project. CANNOTANSWER

Question: Where all did Sardou and Bernhardt take La Tosca in Europe?
Answer: with more than 3,000 performances in France alone.