gaussalgo/Canard_Wiki-augmented huggingface dataset:
Burlesque

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

Question: Besides the first appearance of Burlesque and what Burlesque refers to, are there any interesting aspects about this article?
Answer: The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.
Burlesque

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

Question: What did the burlesque do besides being applied to works of Chaucer and Shakespeare and to Graeco-Roman classics?
Answer: 17th and 18th century burlesque was divided into two types:
Burlesque

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

Question: What was the two types that 17th and 18th century burlesque were divided into?
Answer: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter
Burlesque

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

Question: Besides the definition of high burlesque, what else was beneficial in this article?
Answer: Low burlesque applied an irreverent, mocking style to a serious subject;
Burlesque

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

Question: What was the subject of low burlesque?
Answer: Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom.
Burlesque

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

Question: Besides Samuel Butler, what writers had burlesque?
Answer: Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Burlesque

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

Question: Besides Tom Stoppard and Samuel Butler's use of burlesque, what else did you know about the Burlesque?
Answer: the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic".
Burlesque

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

Question: Did burlesque have any more types of origins and development beside high and low burlesque?
Answer: 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England,
Burlesque

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

Question: What else did you see that stood out in this article other than burlesque's spread through Italy, France, and England?
Answer: Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions.
Norman Borlaug

Context: Initially, Borlaug's work had been concentrated in the central highlands, in the village of Chapingo near Texcoco, where the problems with rust and poor soil were most prevalent. He realized that he could speed up breeding by taking advantage of the country's two growing seasons. In the summer he would breed wheat in the central highlands as usual, then immediately take the seeds north to the Yaqui Valley research station near Ciudad Obregon, Sonora. The difference in altitudes and temperatures would allow more crops to be grown each year.  Borlaug's boss, George Harrar, was against this expansion. Besides the extra costs of doubling the work, Borlaug's plan went against a then-held principle of agronomy that has since been disproved. It was believed that to store energy for germination before being planted, seeds needed a rest period after harvesting. When Harrar vetoed his plan, Borlaug resigned. Elvin Stakman, who was visiting the project, calmed the situation, talking Borlaug into withdrawing his resignation and Harrar into allowing the double wheat season. As of 1945, wheat would then be bred at locations 700 miles (1000 km) apart, 10 degrees apart in latitude, and 8500 feet (2600 m) apart in altitude. This was called "shuttle breeding".  As an unexpected benefit of the double wheat season, the new breeds did not have problems with photoperiodism. Normally, wheat varieties cannot adapt to new environments, due to the changing periods of sunlight. Borlaug later recalled, "As it worked out, in the north, we were planting when the days were getting shorter, at low elevation and high temperature. Then we'd take the seed from the best plants south and plant it at high elevation, when days were getting longer and there was lots of rain. Soon we had varieties that fit the whole range of conditions. That wasn't supposed to happen by the books". This meant that the project would not need to start separate breeding programs for each geographic region of the planet. CANNOTANSWER

Question: What does Norman Borlaug, Double wheat season mean?
Answer: In the summer he would breed wheat in the central highlands as usual, then immediately take the seeds north to the Yaqui Valley research station near Ciudad Obregon,
Norman Borlaug

Context: Initially, Borlaug's work had been concentrated in the central highlands, in the village of Chapingo near Texcoco, where the problems with rust and poor soil were most prevalent. He realized that he could speed up breeding by taking advantage of the country's two growing seasons. In the summer he would breed wheat in the central highlands as usual, then immediately take the seeds north to the Yaqui Valley research station near Ciudad Obregon, Sonora. The difference in altitudes and temperatures would allow more crops to be grown each year.  Borlaug's boss, George Harrar, was against this expansion. Besides the extra costs of doubling the work, Borlaug's plan went against a then-held principle of agronomy that has since been disproved. It was believed that to store energy for germination before being planted, seeds needed a rest period after harvesting. When Harrar vetoed his plan, Borlaug resigned. Elvin Stakman, who was visiting the project, calmed the situation, talking Borlaug into withdrawing his resignation and Harrar into allowing the double wheat season. As of 1945, wheat would then be bred at locations 700 miles (1000 km) apart, 10 degrees apart in latitude, and 8500 feet (2600 m) apart in altitude. This was called "shuttle breeding".  As an unexpected benefit of the double wheat season, the new breeds did not have problems with photoperiodism. Normally, wheat varieties cannot adapt to new environments, due to the changing periods of sunlight. Borlaug later recalled, "As it worked out, in the north, we were planting when the days were getting shorter, at low elevation and high temperature. Then we'd take the seed from the best plants south and plant it at high elevation, when days were getting longer and there was lots of rain. Soon we had varieties that fit the whole range of conditions. That wasn't supposed to happen by the books". This meant that the project would not need to start separate breeding programs for each geographic region of the planet. CANNOTANSWER

Question: What was the ending result of Norman, Borlaug Double wheat season?
Answer: The difference in altitudes and temperatures would allow more crops to be grown each year.
Norman Borlaug

Context: Initially, Borlaug's work had been concentrated in the central highlands, in the village of Chapingo near Texcoco, where the problems with rust and poor soil were most prevalent. He realized that he could speed up breeding by taking advantage of the country's two growing seasons. In the summer he would breed wheat in the central highlands as usual, then immediately take the seeds north to the Yaqui Valley research station near Ciudad Obregon, Sonora. The difference in altitudes and temperatures would allow more crops to be grown each year.  Borlaug's boss, George Harrar, was against this expansion. Besides the extra costs of doubling the work, Borlaug's plan went against a then-held principle of agronomy that has since been disproved. It was believed that to store energy for germination before being planted, seeds needed a rest period after harvesting. When Harrar vetoed his plan, Borlaug resigned. Elvin Stakman, who was visiting the project, calmed the situation, talking Borlaug into withdrawing his resignation and Harrar into allowing the double wheat season. As of 1945, wheat would then be bred at locations 700 miles (1000 km) apart, 10 degrees apart in latitude, and 8500 feet (2600 m) apart in altitude. This was called "shuttle breeding".  As an unexpected benefit of the double wheat season, the new breeds did not have problems with photoperiodism. Normally, wheat varieties cannot adapt to new environments, due to the changing periods of sunlight. Borlaug later recalled, "As it worked out, in the north, we were planting when the days were getting shorter, at low elevation and high temperature. Then we'd take the seed from the best plants south and plant it at high elevation, when days were getting longer and there was lots of rain. Soon we had varieties that fit the whole range of conditions. That wasn't supposed to happen by the books". This meant that the project would not need to start separate breeding programs for each geographic region of the planet. CANNOTANSWER

Question: Did Norman Borlaug have any critics for the difference in altitudes and temps?
Answer: Borlaug's boss, George Harrar, was against this expansion.
Norman Borlaug

Context: Initially, Borlaug's work had been concentrated in the central highlands, in the village of Chapingo near Texcoco, where the problems with rust and poor soil were most prevalent. He realized that he could speed up breeding by taking advantage of the country's two growing seasons. In the summer he would breed wheat in the central highlands as usual, then immediately take the seeds north to the Yaqui Valley research station near Ciudad Obregon, Sonora. The difference in altitudes and temperatures would allow more crops to be grown each year.  Borlaug's boss, George Harrar, was against this expansion. Besides the extra costs of doubling the work, Borlaug's plan went against a then-held principle of agronomy that has since been disproved. It was believed that to store energy for germination before being planted, seeds needed a rest period after harvesting. When Harrar vetoed his plan, Borlaug resigned. Elvin Stakman, who was visiting the project, calmed the situation, talking Borlaug into withdrawing his resignation and Harrar into allowing the double wheat season. As of 1945, wheat would then be bred at locations 700 miles (1000 km) apart, 10 degrees apart in latitude, and 8500 feet (2600 m) apart in altitude. This was called "shuttle breeding".  As an unexpected benefit of the double wheat season, the new breeds did not have problems with photoperiodism. Normally, wheat varieties cannot adapt to new environments, due to the changing periods of sunlight. Borlaug later recalled, "As it worked out, in the north, we were planting when the days were getting shorter, at low elevation and high temperature. Then we'd take the seed from the best plants south and plant it at high elevation, when days were getting longer and there was lots of rain. Soon we had varieties that fit the whole range of conditions. That wasn't supposed to happen by the books". This meant that the project would not need to start separate breeding programs for each geographic region of the planet. CANNOTANSWER

Question: In the end did Norman Borlaug's boss approve after seeing the results?
Answer: Elvin Stakman, who was visiting the project, calmed the situation, talking Borlaug into withdrawing his resignation and Harrar into allowing the double wheat season.
Norman Borlaug

Context: Initially, Borlaug's work had been concentrated in the central highlands, in the village of Chapingo near Texcoco, where the problems with rust and poor soil were most prevalent. He realized that he could speed up breeding by taking advantage of the country's two growing seasons. In the summer he would breed wheat in the central highlands as usual, then immediately take the seeds north to the Yaqui Valley research station near Ciudad Obregon, Sonora. The difference in altitudes and temperatures would allow more crops to be grown each year.  Borlaug's boss, George Harrar, was against this expansion. Besides the extra costs of doubling the work, Borlaug's plan went against a then-held principle of agronomy that has since been disproved. It was believed that to store energy for germination before being planted, seeds needed a rest period after harvesting. When Harrar vetoed his plan, Borlaug resigned. Elvin Stakman, who was visiting the project, calmed the situation, talking Borlaug into withdrawing his resignation and Harrar into allowing the double wheat season. As of 1945, wheat would then be bred at locations 700 miles (1000 km) apart, 10 degrees apart in latitude, and 8500 feet (2600 m) apart in altitude. This was called "shuttle breeding".  As an unexpected benefit of the double wheat season, the new breeds did not have problems with photoperiodism. Normally, wheat varieties cannot adapt to new environments, due to the changing periods of sunlight. Borlaug later recalled, "As it worked out, in the north, we were planting when the days were getting shorter, at low elevation and high temperature. Then we'd take the seed from the best plants south and plant it at high elevation, when days were getting longer and there was lots of rain. Soon we had varieties that fit the whole range of conditions. That wasn't supposed to happen by the books". This meant that the project would not need to start separate breeding programs for each geographic region of the planet. CANNOTANSWER

Question: What did Norman Borlaug do after Elvin Stakman calmed the situation down?
Answer: CANNOTANSWER
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: when did bill kenny join the ink spots?
Answer: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny,
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: did bill kenny play any instruments?
Answer: Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: How did bill kenny come to join the Ink Spots?
Answer: Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom.
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: Were the Ink Spots successful after Bill Kenny joined?
Answer: Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts.
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: How long was Bill Kenny with the Ink Spots?
Answer: CANNOTANSWER
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: Besides how long Bill Kenny was with the band, what else was interesting about bill kenny joining the Ink Spots?
Answer: Bill Kenny started to introduce the group to a new format that he called "Top & Bottom".
The Ink Spots

Context: In 1936, Jerry Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.  In 1938, after being in the group for two years, Bill Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Hoppy Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song entitled "Tune In on My Heart" features Bill Kenny taking the lead and Hoppy Jones performing the talking bass.  The year 1938 also saw Bill Kenny taking his first feature solo in Decca studios. His feature was on a song entitled "I Wish You the Best of Everything". Although it wasn't in the "Top & Bottom" format it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it wasn't very successful in terms of record sales and didn't reach the pop charts. CANNOTANSWER

Question: What was Top and Bottom ?
Answer: This format called for the tenor (Bill Kenny or Deek Watson) to sing the lead for one chorus