gaussalgo/Canard_Wiki-augmented huggingface dataset:
Frank Lloyd Wright

Context: According to Wright's autobiography, his mother declared when she was expecting that her first child would grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infant's ambition. In 1870 the family moved to Weymouth, Massachusetts, where William ministered to a small congregation.  In 1876, Anna visited the Centennial Exhibition in Philadelphia where she saw an exhibit of educational blocks created by Friedrich Wilhelm August Frobel. The blocks, known as Froebel Gifts, were the foundation of his innovative kindergarten curriculum. Anna, a trained teacher, was excited by the program and bought a set with which young Wright spent much time playing. The blocks in the set were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions. In his autobiography, Wright described the influence of these exercises on his approach to design: "For several years I sat at the little Kindergarten table-top... and played... with the cube, the sphere and the triangle--these smooth wooden maple blocks... All are in my fingers to this day... " Many of Wright's buildings are notable for their geometrical clarity.  The Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin, where the supportive Lloyd Jones clan could help William find employment. They settled in Madison, where William taught music lessons and served as the secretary to the newly formed Unitarian society. Although William was a distant parent, he shared his love of music, especially the works of Johann Sebastian Bach, with his children.  Soon after Wright turned 14, his parents separated. Anna had been unhappy for some time with William's inability to provide for his family and asked him to leave. The divorce was finalized in 1885 after William sued Anna for lack of physical affection. William left Wisconsin after the divorce and Wright claimed he never saw his father again. At this time he changed his middle name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses. CANNOTANSWER

Question: What did Frank Lloyd Wright do after his father, William's divorce from Anna?
Answer: William left Wisconsin after the divorce and Wright claimed he never saw his father again.
Frank Lloyd Wright

Context: According to Wright's autobiography, his mother declared when she was expecting that her first child would grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infant's ambition. In 1870 the family moved to Weymouth, Massachusetts, where William ministered to a small congregation.  In 1876, Anna visited the Centennial Exhibition in Philadelphia where she saw an exhibit of educational blocks created by Friedrich Wilhelm August Frobel. The blocks, known as Froebel Gifts, were the foundation of his innovative kindergarten curriculum. Anna, a trained teacher, was excited by the program and bought a set with which young Wright spent much time playing. The blocks in the set were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions. In his autobiography, Wright described the influence of these exercises on his approach to design: "For several years I sat at the little Kindergarten table-top... and played... with the cube, the sphere and the triangle--these smooth wooden maple blocks... All are in my fingers to this day... " Many of Wright's buildings are notable for their geometrical clarity.  The Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin, where the supportive Lloyd Jones clan could help William find employment. They settled in Madison, where William taught music lessons and served as the secretary to the newly formed Unitarian society. Although William was a distant parent, he shared his love of music, especially the works of Johann Sebastian Bach, with his children.  Soon after Wright turned 14, his parents separated. Anna had been unhappy for some time with William's inability to provide for his family and asked him to leave. The divorce was finalized in 1885 after William sued Anna for lack of physical affection. William left Wisconsin after the divorce and Wright claimed he never saw his father again. At this time he changed his middle name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses. CANNOTANSWER

Question: What about Frank Lloyd Wright"s education?
Answer: CANNOTANSWER
Frank Lloyd Wright

Context: According to Wright's autobiography, his mother declared when she was expecting that her first child would grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infant's ambition. In 1870 the family moved to Weymouth, Massachusetts, where William ministered to a small congregation.  In 1876, Anna visited the Centennial Exhibition in Philadelphia where she saw an exhibit of educational blocks created by Friedrich Wilhelm August Frobel. The blocks, known as Froebel Gifts, were the foundation of his innovative kindergarten curriculum. Anna, a trained teacher, was excited by the program and bought a set with which young Wright spent much time playing. The blocks in the set were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions. In his autobiography, Wright described the influence of these exercises on his approach to design: "For several years I sat at the little Kindergarten table-top... and played... with the cube, the sphere and the triangle--these smooth wooden maple blocks... All are in my fingers to this day... " Many of Wright's buildings are notable for their geometrical clarity.  The Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin, where the supportive Lloyd Jones clan could help William find employment. They settled in Madison, where William taught music lessons and served as the secretary to the newly formed Unitarian society. Although William was a distant parent, he shared his love of music, especially the works of Johann Sebastian Bach, with his children.  Soon after Wright turned 14, his parents separated. Anna had been unhappy for some time with William's inability to provide for his family and asked him to leave. The divorce was finalized in 1885 after William sued Anna for lack of physical affection. William left Wisconsin after the divorce and Wright claimed he never saw his father again. At this time he changed his middle name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses. CANNOTANSWER

Question: Besides the divorce of Frank Lloyd Wright's parents, was there anything else significant about his childhood?
Answer: In 1870 the family moved to Weymouth, Massachusetts, where William ministered to a small congregation.
Francis Poulenc

Context: Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve."  Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems.  The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953). CANNOTANSWER

Question: What musical instrument did Poulenc play?
Answer: piano
Francis Poulenc

Context: Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve."  Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems.  The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953). CANNOTANSWER

Question: When did Francis Poulenc start playing piano?
Answer: CANNOTANSWER
Francis Poulenc

Context: Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve."  Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems.  The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953). CANNOTANSWER

Question: Was Francis Poulenc a famous composer?
Answer: Poulenc, a highly accomplished pianist,
Francis Poulenc

Context: Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve."  Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems.  The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953). CANNOTANSWER

Question: What compositions did Francis Poulenc write?
Answer: To serve as Coda for the Cycle
Spanish colonization of the Americas

Context: The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.  The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.  The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza.  Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER

Question: How did the juntas govern the Spanish colonies?
Answer: CANNOTANSWER
Spanish colonization of the Americas

Context: The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.  The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.  The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza.  Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER

Question: What happened during napoleonic era in Europe?
Answer: CANNOTANSWER
Spanish colonization of the Americas

Context: The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.  The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.  The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza.  Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER

Question: How did Spain colonize the Americas?
Answer: Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833.
Spanish colonization of the Americas

Context: The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.  The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.  The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza.  Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER

Question: How did California become indpendent?
Answer: CANNOTANSWER
Burt Bacharach

Context: In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis Costello, Painted from Memory, on which the compositions began to take on the sound of his earlier work.  In 2003, he teamed with singer Ronald Isley to release the album Here I Am, which revisited a number of his 1960s compositions in Isley's signature R&B style. Bacharach's 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics, some of which dealt with political themes. Guest stars on the album included Elvis Costello, Rufus Wainwright, and hip-hop producer Dr. Dre.  In 2008, Bacharach opened the BBC Electric Proms at The Roundhouse in London, performing with the BBC Concert Orchestra accompanied by guest vocalists Adele, Beth Rowley and Jamie Cullum. The concert was a retrospective look back at his six-decade career. In early 2009, Bacharach worked with Italian soul singer Karima Ammar and produced her debut single Come In Ogni Ora, which became a #4 hit.  In June, 2015, Bacharach performed in the UK at the Glastonbury Festival, and a few weeks later appeared on stage at the Menier Chocolate Factory to launch 'What's It All About? Bacharach Reimagined', a 90-minute live arrangement of his hits.  In 2016, Bacharach, at 88 years old, composed and arranged his first original score in 16 years for the film A Boy Called Po (along with composer Joseph Bauer). The score was released on September 1, 2017. The entire 30-minute score was recorded in just two days at Capitol Studios. The theme song Dancing With Your Shadow, was composed by Bacharach, with lyrics by Billy Mann, and performed by Sheryl Crow. After seeing the film, a true story about a child with Autism, Bacharach decided he wanted to write a score for it, as well as a theme song, in tribute to his daughter Nikki -- who had gone undiagnosed with Asperger syndrome, and who committed suicide at the age of 40. Bacharach asked Director John Asher to see the film and offered to score it. "It touched me very much," the composer says. "I had gone through this with Nikki. Sometimes you do things that make you feel. It's not about money or rewards." CANNOTANSWER

Question: What were Burt Bacharach's major achievements in the 1990s?
Answer: In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis Costello, Painted from Memory,
Burt Bacharach

Context: In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis Costello, Painted from Memory, on which the compositions began to take on the sound of his earlier work.  In 2003, he teamed with singer Ronald Isley to release the album Here I Am, which revisited a number of his 1960s compositions in Isley's signature R&B style. Bacharach's 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics, some of which dealt with political themes. Guest stars on the album included Elvis Costello, Rufus Wainwright, and hip-hop producer Dr. Dre.  In 2008, Bacharach opened the BBC Electric Proms at The Roundhouse in London, performing with the BBC Concert Orchestra accompanied by guest vocalists Adele, Beth Rowley and Jamie Cullum. The concert was a retrospective look back at his six-decade career. In early 2009, Bacharach worked with Italian soul singer Karima Ammar and produced her debut single Come In Ogni Ora, which became a #4 hit.  In June, 2015, Bacharach performed in the UK at the Glastonbury Festival, and a few weeks later appeared on stage at the Menier Chocolate Factory to launch 'What's It All About? Bacharach Reimagined', a 90-minute live arrangement of his hits.  In 2016, Bacharach, at 88 years old, composed and arranged his first original score in 16 years for the film A Boy Called Po (along with composer Joseph Bauer). The score was released on September 1, 2017. The entire 30-minute score was recorded in just two days at Capitol Studios. The theme song Dancing With Your Shadow, was composed by Bacharach, with lyrics by Billy Mann, and performed by Sheryl Crow. After seeing the film, a true story about a child with Autism, Bacharach decided he wanted to write a score for it, as well as a theme song, in tribute to his daughter Nikki -- who had gone undiagnosed with Asperger syndrome, and who committed suicide at the age of 40. Bacharach asked Director John Asher to see the film and offered to score it. "It touched me very much," the composer says. "I had gone through this with Nikki. Sometimes you do things that make you feel. It's not about money or rewards." CANNOTANSWER

Question: Did Burt Bacharach write or record any other albums after 1990 besides Painted from Memory?
Answer: In 2003, he teamed with singer Ronald Isley to release the album Here I Am,
Burt Bacharach

Context: In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis Costello, Painted from Memory, on which the compositions began to take on the sound of his earlier work.  In 2003, he teamed with singer Ronald Isley to release the album Here I Am, which revisited a number of his 1960s compositions in Isley's signature R&B style. Bacharach's 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics, some of which dealt with political themes. Guest stars on the album included Elvis Costello, Rufus Wainwright, and hip-hop producer Dr. Dre.  In 2008, Bacharach opened the BBC Electric Proms at The Roundhouse in London, performing with the BBC Concert Orchestra accompanied by guest vocalists Adele, Beth Rowley and Jamie Cullum. The concert was a retrospective look back at his six-decade career. In early 2009, Bacharach worked with Italian soul singer Karima Ammar and produced her debut single Come In Ogni Ora, which became a #4 hit.  In June, 2015, Bacharach performed in the UK at the Glastonbury Festival, and a few weeks later appeared on stage at the Menier Chocolate Factory to launch 'What's It All About? Bacharach Reimagined', a 90-minute live arrangement of his hits.  In 2016, Bacharach, at 88 years old, composed and arranged his first original score in 16 years for the film A Boy Called Po (along with composer Joseph Bauer). The score was released on September 1, 2017. The entire 30-minute score was recorded in just two days at Capitol Studios. The theme song Dancing With Your Shadow, was composed by Bacharach, with lyrics by Billy Mann, and performed by Sheryl Crow. After seeing the film, a true story about a child with Autism, Bacharach decided he wanted to write a score for it, as well as a theme song, in tribute to his daughter Nikki -- who had gone undiagnosed with Asperger syndrome, and who committed suicide at the age of 40. Bacharach asked Director John Asher to see the film and offered to score it. "It touched me very much," the composer says. "I had gone through this with Nikki. Sometimes you do things that make you feel. It's not about money or rewards." CANNOTANSWER

Question: Are there any other albums that Burt Bacharach created besides the Costello and Isley collaborations?
Answer: Bacharach's 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics,
Burt Bacharach

Context: In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis Costello, Painted from Memory, on which the compositions began to take on the sound of his earlier work.  In 2003, he teamed with singer Ronald Isley to release the album Here I Am, which revisited a number of his 1960s compositions in Isley's signature R&B style. Bacharach's 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics, some of which dealt with political themes. Guest stars on the album included Elvis Costello, Rufus Wainwright, and hip-hop producer Dr. Dre.  In 2008, Bacharach opened the BBC Electric Proms at The Roundhouse in London, performing with the BBC Concert Orchestra accompanied by guest vocalists Adele, Beth Rowley and Jamie Cullum. The concert was a retrospective look back at his six-decade career. In early 2009, Bacharach worked with Italian soul singer Karima Ammar and produced her debut single Come In Ogni Ora, which became a #4 hit.  In June, 2015, Bacharach performed in the UK at the Glastonbury Festival, and a few weeks later appeared on stage at the Menier Chocolate Factory to launch 'What's It All About? Bacharach Reimagined', a 90-minute live arrangement of his hits.  In 2016, Bacharach, at 88 years old, composed and arranged his first original score in 16 years for the film A Boy Called Po (along with composer Joseph Bauer). The score was released on September 1, 2017. The entire 30-minute score was recorded in just two days at Capitol Studios. The theme song Dancing With Your Shadow, was composed by Bacharach, with lyrics by Billy Mann, and performed by Sheryl Crow. After seeing the film, a true story about a child with Autism, Bacharach decided he wanted to write a score for it, as well as a theme song, in tribute to his daughter Nikki -- who had gone undiagnosed with Asperger syndrome, and who committed suicide at the age of 40. Bacharach asked Director John Asher to see the film and offered to score it. "It touched me very much," the composer says. "I had gone through this with Nikki. Sometimes you do things that make you feel. It's not about money or rewards." CANNOTANSWER

Question: What producer was Burt Bacharach working with during the 1990s and 2000s?
Answer: CANNOTANSWER
Rahul Dravid

Context: Dravid had been knocking at the doors of Indian national cricket team for quite a while with his consistent performance in domestic cricket. So much so, that when the selectors announced the Indian team for the 1996 World Cup sans Dravid, an Indian daily newspaper carried a headline - "Rahul Dravid gets a raw deal". However, they could not ignore him any longer after the World Cup. Dravid made his international debut on 3 April 1996 in an ODI against Sri Lanka in the Singer Cup held in Singapore immediately after the 1996 World Cup replacing Vinod Kambli. He wasn't particularly impressive with the bat scoring just three runs before being dismissed by Muttiah Muralitharan but took two catches in the match. He followed it up with another failure in the next game scoring just four runs before getting run out against Pakistan.  In contrast to his ODI debut, his Test debut was rather successful one. Dravid was selected for the Indian squad touring England on the backdrop of a consistent performance in domestic cricket for five years. Fine performances in the tour games including fifties against Gloucestershire and Leicestershire failed to earn him a place in the team for the First Test. He finally made his Test debut at Lord's on 20 June 1996 against England in the Second Test of the series at the expense of injured senior batsman Sanjay Manjrekar. Manjrekar, who was suffering from an ankle injury, was to undergo a fitness test on the morning of the Second Test. Dravid had already been informed that he would play if Manjrekar fails the test. As fate would have it, Manjrekar failed the fitness test. Ten minutes before the toss, Sandeep Patil, the then Indian coach, went up to Dravid to inform him that he was indeed going to make his debut that day. Patil recalled years later:  I told him he will be playing. His face lit up. I cannot forget that moment.  Coming in to bat at no. 7, he forged important partnerships with another debutante Sourav Ganguly and his Karnataka teammates Kumble and Srinath securing a vital first innings lead for his team. Batting for more than six hours, he scored 95 runs before getting out to the bowling of Chris Lewis. Dravid was just five runs away from a landmark debut hundred when he nicked a Lewis delivery to the keeper and walked even before umpire's decision. When asked about the walk, he quipped, "Everybody at the ground had heard the nick". He also took his first catch in Test cricket in this match to dismiss Nasser Hussain off the bowling of Srinath. In the next tour game against British Universities, Dravid scored a hundred. He held his position in the playing XI in the Third Test at Nottingham despite Manjrekar's return and went on to score 84 runs in the first innings of the Test. Dravid concluded a successful debut series with an impressive average of 62.33 from two Test matches. CANNOTANSWER

Question: How did Rahul Dravid make his international debut?
Answer: in an ODI against Sri Lanka in the Singer Cup
Rahul Dravid

Context: Dravid had been knocking at the doors of Indian national cricket team for quite a while with his consistent performance in domestic cricket. So much so, that when the selectors announced the Indian team for the 1996 World Cup sans Dravid, an Indian daily newspaper carried a headline - "Rahul Dravid gets a raw deal". However, they could not ignore him any longer after the World Cup. Dravid made his international debut on 3 April 1996 in an ODI against Sri Lanka in the Singer Cup held in Singapore immediately after the 1996 World Cup replacing Vinod Kambli. He wasn't particularly impressive with the bat scoring just three runs before being dismissed by Muttiah Muralitharan but took two catches in the match. He followed it up with another failure in the next game scoring just four runs before getting run out against Pakistan.  In contrast to his ODI debut, his Test debut was rather successful one. Dravid was selected for the Indian squad touring England on the backdrop of a consistent performance in domestic cricket for five years. Fine performances in the tour games including fifties against Gloucestershire and Leicestershire failed to earn him a place in the team for the First Test. He finally made his Test debut at Lord's on 20 June 1996 against England in the Second Test of the series at the expense of injured senior batsman Sanjay Manjrekar. Manjrekar, who was suffering from an ankle injury, was to undergo a fitness test on the morning of the Second Test. Dravid had already been informed that he would play if Manjrekar fails the test. As fate would have it, Manjrekar failed the fitness test. Ten minutes before the toss, Sandeep Patil, the then Indian coach, went up to Dravid to inform him that he was indeed going to make his debut that day. Patil recalled years later:  I told him he will be playing. His face lit up. I cannot forget that moment.  Coming in to bat at no. 7, he forged important partnerships with another debutante Sourav Ganguly and his Karnataka teammates Kumble and Srinath securing a vital first innings lead for his team. Batting for more than six hours, he scored 95 runs before getting out to the bowling of Chris Lewis. Dravid was just five runs away from a landmark debut hundred when he nicked a Lewis delivery to the keeper and walked even before umpire's decision. When asked about the walk, he quipped, "Everybody at the ground had heard the nick". He also took his first catch in Test cricket in this match to dismiss Nasser Hussain off the bowling of Srinath. In the next tour game against British Universities, Dravid scored a hundred. He held his position in the playing XI in the Third Test at Nottingham despite Manjrekar's return and went on to score 84 runs in the first innings of the Test. Dravid concluded a successful debut series with an impressive average of 62.33 from two Test matches. CANNOTANSWER

Question: what year did Rahul Dravid's international debut happen?
Answer: 3 April 1996
Rahul Dravid

Context: Dravid had been knocking at the doors of Indian national cricket team for quite a while with his consistent performance in domestic cricket. So much so, that when the selectors announced the Indian team for the 1996 World Cup sans Dravid, an Indian daily newspaper carried a headline - "Rahul Dravid gets a raw deal". However, they could not ignore him any longer after the World Cup. Dravid made his international debut on 3 April 1996 in an ODI against Sri Lanka in the Singer Cup held in Singapore immediately after the 1996 World Cup replacing Vinod Kambli. He wasn't particularly impressive with the bat scoring just three runs before being dismissed by Muttiah Muralitharan but took two catches in the match. He followed it up with another failure in the next game scoring just four runs before getting run out against Pakistan.  In contrast to his ODI debut, his Test debut was rather successful one. Dravid was selected for the Indian squad touring England on the backdrop of a consistent performance in domestic cricket for five years. Fine performances in the tour games including fifties against Gloucestershire and Leicestershire failed to earn him a place in the team for the First Test. He finally made his Test debut at Lord's on 20 June 1996 against England in the Second Test of the series at the expense of injured senior batsman Sanjay Manjrekar. Manjrekar, who was suffering from an ankle injury, was to undergo a fitness test on the morning of the Second Test. Dravid had already been informed that he would play if Manjrekar fails the test. As fate would have it, Manjrekar failed the fitness test. Ten minutes before the toss, Sandeep Patil, the then Indian coach, went up to Dravid to inform him that he was indeed going to make his debut that day. Patil recalled years later:  I told him he will be playing. His face lit up. I cannot forget that moment.  Coming in to bat at no. 7, he forged important partnerships with another debutante Sourav Ganguly and his Karnataka teammates Kumble and Srinath securing a vital first innings lead for his team. Batting for more than six hours, he scored 95 runs before getting out to the bowling of Chris Lewis. Dravid was just five runs away from a landmark debut hundred when he nicked a Lewis delivery to the keeper and walked even before umpire's decision. When asked about the walk, he quipped, "Everybody at the ground had heard the nick". He also took his first catch in Test cricket in this match to dismiss Nasser Hussain off the bowling of Srinath. In the next tour game against British Universities, Dravid scored a hundred. He held his position in the playing XI in the Third Test at Nottingham despite Manjrekar's return and went on to score 84 runs in the first innings of the Test. Dravid concluded a successful debut series with an impressive average of 62.33 from two Test matches. CANNOTANSWER

Question: Was Rahul Dravid's debut well received?
Answer: wasn't particularly impressive with the bat scoring just three runs before being dismissed by Muttiah Muralitharan but took two catches in the match.