gaussalgo/Canard_Wiki-augmented huggingface dataset:
Marc Márquez

Context: Marquez moved into the Moto2 class for 2011 - the first of an expected two-year deal - as the sole rider of the new team Monlau Competicion, run by his manager Emilio Alzamora. He finished 21st in Portugal, before taking his first victory in the class at the French Grand Prix. At his home race in Catalonia, Marquez finished second behind championship leader Stefan Bradl, before another fall at the Silverstone, having started from his first Moto2 pole position. With Bradl taking his fourth victory in the first six races, Marquez trailed him by 82 points at the end of the weekend. Marquez made a mid-season surge up the championship standings, winning six of the next seven races to move within six points of Bradl in the championship standings.  In the Japanese Grand Prix, Marquez took his seventh pole position of the season but finished second to Andrea Iannone, but that finish combined with a fourth place for Bradl, allowed Marquez to take the championship lead by a point. At the Australian Grand Prix, Marquez was involved in an incident with Ratthapark Wilairot during free practice; Marquez crashed into the back of Wilairot after the session had been concluded, and for riding in an "irresponsible manner", was given a one-minute time penalty onto his qualifying time. The penalty ensured Marquez would start the race from last on the grid, but he made his way through the field and eventually finished the race in third place.  Prior to the Malaysian Grand Prix, Marquez confirmed that he would remain in Moto2 for the 2012 season, after rumours of a move into the MotoGP class. Marquez's race weekend was hampered in the opening minutes of the first free practice session, as he crashed on a damp patch of asphalt. After sitting out two further practice sessions, Marquez completed two laps in the qualifying session, but his times were only good enough for 36th on the grid. He did not start the race, as he failed a medical examination prior to the warm-up on race morning. Marquez attended the final race of the season in Valencia, in the hope of being fit to compete, but withdrew due to his continued vision problems, giving Bradl the title.  In 2012, Marquez won the Moto2 championship title after a season-long battle with fellow Spanish rider Pol Espargaro; a third-place finish for Marquez at the Australian Grand Prix - despite a win for Espargaro - was enough to give him his second world title before moving into the premier class for the 2013 season. He took his last victory in the class at the Valencian Grand Prix, the last event of the season, despite starting from 33rd on the grid. This performance, which implied overtaking 20 bikes on the first lap alone, meant the biggest comeback in the sport's history. He finished the season with nine race wins, setting a record for the class that still stands. Marquez's result was enough to give Suter the constructors' title for the class. CANNOTANSWER

Question: what year was Marc Márquez's, Moto2 World Championship?
Answer: In 2012, Marquez won the Moto2 championship title after a season-long battle with fellow Spanish rider Pol Espargaro;
Marc Márquez

Context: Marquez moved into the Moto2 class for 2011 - the first of an expected two-year deal - as the sole rider of the new team Monlau Competicion, run by his manager Emilio Alzamora. He finished 21st in Portugal, before taking his first victory in the class at the French Grand Prix. At his home race in Catalonia, Marquez finished second behind championship leader Stefan Bradl, before another fall at the Silverstone, having started from his first Moto2 pole position. With Bradl taking his fourth victory in the first six races, Marquez trailed him by 82 points at the end of the weekend. Marquez made a mid-season surge up the championship standings, winning six of the next seven races to move within six points of Bradl in the championship standings.  In the Japanese Grand Prix, Marquez took his seventh pole position of the season but finished second to Andrea Iannone, but that finish combined with a fourth place for Bradl, allowed Marquez to take the championship lead by a point. At the Australian Grand Prix, Marquez was involved in an incident with Ratthapark Wilairot during free practice; Marquez crashed into the back of Wilairot after the session had been concluded, and for riding in an "irresponsible manner", was given a one-minute time penalty onto his qualifying time. The penalty ensured Marquez would start the race from last on the grid, but he made his way through the field and eventually finished the race in third place.  Prior to the Malaysian Grand Prix, Marquez confirmed that he would remain in Moto2 for the 2012 season, after rumours of a move into the MotoGP class. Marquez's race weekend was hampered in the opening minutes of the first free practice session, as he crashed on a damp patch of asphalt. After sitting out two further practice sessions, Marquez completed two laps in the qualifying session, but his times were only good enough for 36th on the grid. He did not start the race, as he failed a medical examination prior to the warm-up on race morning. Marquez attended the final race of the season in Valencia, in the hope of being fit to compete, but withdrew due to his continued vision problems, giving Bradl the title.  In 2012, Marquez won the Moto2 championship title after a season-long battle with fellow Spanish rider Pol Espargaro; a third-place finish for Marquez at the Australian Grand Prix - despite a win for Espargaro - was enough to give him his second world title before moving into the premier class for the 2013 season. He took his last victory in the class at the Valencian Grand Prix, the last event of the season, despite starting from 33rd on the grid. This performance, which implied overtaking 20 bikes on the first lap alone, meant the biggest comeback in the sport's history. He finished the season with nine race wins, setting a record for the class that still stands. Marquez's result was enough to give Suter the constructors' title for the class. CANNOTANSWER

Question: Where did Marc Márquez's, Moto2 World Championship happen?
Answer: third-place finish for Marquez at the Australian Grand Prix - despite a win for Espargaro - was enough to give him his second world title
Marc Márquez

Context: Marquez moved into the Moto2 class for 2011 - the first of an expected two-year deal - as the sole rider of the new team Monlau Competicion, run by his manager Emilio Alzamora. He finished 21st in Portugal, before taking his first victory in the class at the French Grand Prix. At his home race in Catalonia, Marquez finished second behind championship leader Stefan Bradl, before another fall at the Silverstone, having started from his first Moto2 pole position. With Bradl taking his fourth victory in the first six races, Marquez trailed him by 82 points at the end of the weekend. Marquez made a mid-season surge up the championship standings, winning six of the next seven races to move within six points of Bradl in the championship standings.  In the Japanese Grand Prix, Marquez took his seventh pole position of the season but finished second to Andrea Iannone, but that finish combined with a fourth place for Bradl, allowed Marquez to take the championship lead by a point. At the Australian Grand Prix, Marquez was involved in an incident with Ratthapark Wilairot during free practice; Marquez crashed into the back of Wilairot after the session had been concluded, and for riding in an "irresponsible manner", was given a one-minute time penalty onto his qualifying time. The penalty ensured Marquez would start the race from last on the grid, but he made his way through the field and eventually finished the race in third place.  Prior to the Malaysian Grand Prix, Marquez confirmed that he would remain in Moto2 for the 2012 season, after rumours of a move into the MotoGP class. Marquez's race weekend was hampered in the opening minutes of the first free practice session, as he crashed on a damp patch of asphalt. After sitting out two further practice sessions, Marquez completed two laps in the qualifying session, but his times were only good enough for 36th on the grid. He did not start the race, as he failed a medical examination prior to the warm-up on race morning. Marquez attended the final race of the season in Valencia, in the hope of being fit to compete, but withdrew due to his continued vision problems, giving Bradl the title.  In 2012, Marquez won the Moto2 championship title after a season-long battle with fellow Spanish rider Pol Espargaro; a third-place finish for Marquez at the Australian Grand Prix - despite a win for Espargaro - was enough to give him his second world title before moving into the premier class for the 2013 season. He took his last victory in the class at the Valencian Grand Prix, the last event of the season, despite starting from 33rd on the grid. This performance, which implied overtaking 20 bikes on the first lap alone, meant the biggest comeback in the sport's history. He finished the season with nine race wins, setting a record for the class that still stands. Marquez's result was enough to give Suter the constructors' title for the class. CANNOTANSWER

Question: Did Marc Márquez win 1st at anything?
Answer: He took his last victory in the class at the Valencian Grand Prix, the last event of the season, despite starting from 33rd on the grid.
The Smashing Pumpkins

Context: With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."  Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.  Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".  In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER

Question: Did The Smashing Pumpkins break up?
Answer: contributing to an air of resentment.
The Smashing Pumpkins

Context: With the breakthrough of alternative rock into the American mainstream due to the popularity of grunge bands such as Nirvana and Pearl Jam, the Smashing Pumpkins were poised for major commercial success. At this time, the Smashing Pumpkins were routinely lumped in with the grunge movement, with Corgan protesting, "We've graduated now from 'the next Jane's Addiction' to 'the next Nirvana', now we're 'the next Pearl Jam'."  Amid this environment of intense internal pressure for the band to break through to widespread popularity, the band relocated to Marietta, Georgia in late 1992 to begin work on their second album, with Butch Vig returning as producer. The decision to record so far away from their hometown was motivated partly by the band's desire to avoid friends and distractions during the recording, but largely as a desperate attempt to cut Chamberlin off from his known drug connections. The recording environment for Siamese Dream was quickly marred by discord within the band. As was the case with Gish, Corgan and Vig decided that Corgan should play nearly all of the guitar and bass parts on the album, contributing to an air of resentment. The contemporary music press began to portray Corgan as a tyrant. Corgan's depression, meanwhile, had deepened to the point where he contemplated suicide, and he compensated by practically living in the studio. Meanwhile, Chamberlin quickly managed to find new connections and was often absent without any contact for days at a time. In all, it took over four months to complete the record, with the budget exceeding $250,000.  Despite all the problems in its recording, Siamese Dream debuted at number ten on the Billboard 200 chart, and sold over four million copies in the U.S. alone. Alongside the band's mounting mainstream recognition, the band's reputation as careerists among their former peers in the independent music community was worsened. Indie rock band Pavement's 1994 song "Range Life" directly mocks the band in its lyrics, although Stephen Malkmus, lead singer of Pavement, has stated, "I never dissed their music. I just dissed their status." Former Husker Du frontman Bob Mould called them "the grunge Monkees", and fellow Chicago musician/producer Steve Albini wrote a scathing letter in response to an article praising the band, derisively comparing them to REO Speedwagon ("by, of and for the mainstream") and concluding their ultimate insignificance. The opening track and lead single of Siamese Dream, "Cherub Rock", directly addresses Corgan's feud with the "indie-world".  In 1994 Virgin released the B-sides/rarities compilation Pisces Iscariot which charted higher than Siamese Dream by reaching number four on the Billboard 200. Also released was a VHS cassette titled Vieuphoria featuring a mix of live performances and behind-the-scenes footage. Following relentless touring to support the recordings, including headline slots on the 1994 Lollapalooza tour and at Reading Festival in 1995, the band took time off to write the follow-up album. CANNOTANSWER

Question: Did The Smashing Pumpkins enjoy touring?
Answer: CANNOTANSWER
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: How did Namdev start his teachings?
Answer: Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing.
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: What were Namdev's Bhajans?
Answer: Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: Who did Namdev teach the Bhajans to?
Answer: The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: Did namdev have help composing the Bhajans?
Answer: CANNOTANSWER
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: Are there any other interesting aspects about this article aside from the spiritual message?
Answer: In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat).
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: Were there people who opposed Namdev's teachings?
Answer: Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations".
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: when was Namdev's Bhajans created?
Answer: CANNOTANSWER
Namdev

Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries.  The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units).  Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER

Question: Were the Bhajans useful literary works?
Answer: The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species.
David Hume

Context: In the introduction to A Treatise of Human Nature, Hume wrote, "'Tis evident, that all the sciences have a relation, more or less, to human nature ... Even Mathematics, Natural Philosophy, and Natural Religion, are in some measure dependent on the science of Man." He also wrote that the science of man is the "only solid foundation for the other sciences" and that the method for this science requires both experience and observation as the foundations of a logical argument. On this aspect of Hume's thought, philosophical historian Frederick Copleston wrote that it was Hume's aim to apply to the science of man the method of experimental philosophy (the term that was current at the time to imply Natural philosophy), and that "Hume's plan is to extend to philosophy in general the methodological limitations of Newtonian physics".  Until recently, Hume was seen as a forerunner of logical positivism; a form of anti-metaphysical empiricism. According to the logical positivists, unless a statement could be verified by experience, or else was true or false by definition (i.e. either tautological or contradictory), then it was meaningless (this is a summary statement of their verification principle). Hume, on this view, was a proto-positivist, who, in his philosophical writings, attempted to demonstrate how ordinary propositions about objects, causal relations, the self, and so on, are semantically equivalent to propositions about one's experiences.  Many commentators have since rejected this understanding of Humean empiricism, stressing an epistemological (rather than a semantic) reading of his project. According to this opposing view, Hume's empiricism consisted in the idea that it is our knowledge, and not our ability to conceive, that is restricted to what can be experienced. Hume thought that we can form beliefs about that which extends beyond any possible experience, through the operation of faculties such as custom and the imagination, but he was sceptical about claims to knowledge on this basis. CANNOTANSWER

Question: What were some of David Hume's works of writing?
Answer: A Treatise of Human Nature,
David Hume

Context: In the introduction to A Treatise of Human Nature, Hume wrote, "'Tis evident, that all the sciences have a relation, more or less, to human nature ... Even Mathematics, Natural Philosophy, and Natural Religion, are in some measure dependent on the science of Man." He also wrote that the science of man is the "only solid foundation for the other sciences" and that the method for this science requires both experience and observation as the foundations of a logical argument. On this aspect of Hume's thought, philosophical historian Frederick Copleston wrote that it was Hume's aim to apply to the science of man the method of experimental philosophy (the term that was current at the time to imply Natural philosophy), and that "Hume's plan is to extend to philosophy in general the methodological limitations of Newtonian physics".  Until recently, Hume was seen as a forerunner of logical positivism; a form of anti-metaphysical empiricism. According to the logical positivists, unless a statement could be verified by experience, or else was true or false by definition (i.e. either tautological or contradictory), then it was meaningless (this is a summary statement of their verification principle). Hume, on this view, was a proto-positivist, who, in his philosophical writings, attempted to demonstrate how ordinary propositions about objects, causal relations, the self, and so on, are semantically equivalent to propositions about one's experiences.  Many commentators have since rejected this understanding of Humean empiricism, stressing an epistemological (rather than a semantic) reading of his project. According to this opposing view, Hume's empiricism consisted in the idea that it is our knowledge, and not our ability to conceive, that is restricted to what can be experienced. Hume thought that we can form beliefs about that which extends beyond any possible experience, through the operation of faculties such as custom and the imagination, but he was sceptical about claims to knowledge on this basis. CANNOTANSWER

Question: What were David Hume's writings about?
Answer: Tis evident, that all the sciences have a relation, more or less, to human nature ...
David Hume

Context: In the introduction to A Treatise of Human Nature, Hume wrote, "'Tis evident, that all the sciences have a relation, more or less, to human nature ... Even Mathematics, Natural Philosophy, and Natural Religion, are in some measure dependent on the science of Man." He also wrote that the science of man is the "only solid foundation for the other sciences" and that the method for this science requires both experience and observation as the foundations of a logical argument. On this aspect of Hume's thought, philosophical historian Frederick Copleston wrote that it was Hume's aim to apply to the science of man the method of experimental philosophy (the term that was current at the time to imply Natural philosophy), and that "Hume's plan is to extend to philosophy in general the methodological limitations of Newtonian physics".  Until recently, Hume was seen as a forerunner of logical positivism; a form of anti-metaphysical empiricism. According to the logical positivists, unless a statement could be verified by experience, or else was true or false by definition (i.e. either tautological or contradictory), then it was meaningless (this is a summary statement of their verification principle). Hume, on this view, was a proto-positivist, who, in his philosophical writings, attempted to demonstrate how ordinary propositions about objects, causal relations, the self, and so on, are semantically equivalent to propositions about one's experiences.  Many commentators have since rejected this understanding of Humean empiricism, stressing an epistemological (rather than a semantic) reading of his project. According to this opposing view, Hume's empiricism consisted in the idea that it is our knowledge, and not our ability to conceive, that is restricted to what can be experienced. Hume thought that we can form beliefs about that which extends beyond any possible experience, through the operation of faculties such as custom and the imagination, but he was sceptical about claims to knowledge on this basis. CANNOTANSWER

Question: What were the names of some of David Hume other writings in addition to A Treatise of Human Nature?
Answer: He also wrote that the science of man is the "only solid foundation for the other sciences"
David Hume

Context: In the introduction to A Treatise of Human Nature, Hume wrote, "'Tis evident, that all the sciences have a relation, more or less, to human nature ... Even Mathematics, Natural Philosophy, and Natural Religion, are in some measure dependent on the science of Man." He also wrote that the science of man is the "only solid foundation for the other sciences" and that the method for this science requires both experience and observation as the foundations of a logical argument. On this aspect of Hume's thought, philosophical historian Frederick Copleston wrote that it was Hume's aim to apply to the science of man the method of experimental philosophy (the term that was current at the time to imply Natural philosophy), and that "Hume's plan is to extend to philosophy in general the methodological limitations of Newtonian physics".  Until recently, Hume was seen as a forerunner of logical positivism; a form of anti-metaphysical empiricism. According to the logical positivists, unless a statement could be verified by experience, or else was true or false by definition (i.e. either tautological or contradictory), then it was meaningless (this is a summary statement of their verification principle). Hume, on this view, was a proto-positivist, who, in his philosophical writings, attempted to demonstrate how ordinary propositions about objects, causal relations, the self, and so on, are semantically equivalent to propositions about one's experiences.  Many commentators have since rejected this understanding of Humean empiricism, stressing an epistemological (rather than a semantic) reading of his project. According to this opposing view, Hume's empiricism consisted in the idea that it is our knowledge, and not our ability to conceive, that is restricted to what can be experienced. Hume thought that we can form beliefs about that which extends beyond any possible experience, through the operation of faculties such as custom and the imagination, but he was sceptical about claims to knowledge on this basis. CANNOTANSWER

Question: How did people view David Hume's writings?
Answer: Hume was seen as a forerunner of logical positivism; a form of anti-metaphysical empiricism.
David Hume

Context: In the introduction to A Treatise of Human Nature, Hume wrote, "'Tis evident, that all the sciences have a relation, more or less, to human nature ... Even Mathematics, Natural Philosophy, and Natural Religion, are in some measure dependent on the science of Man." He also wrote that the science of man is the "only solid foundation for the other sciences" and that the method for this science requires both experience and observation as the foundations of a logical argument. On this aspect of Hume's thought, philosophical historian Frederick Copleston wrote that it was Hume's aim to apply to the science of man the method of experimental philosophy (the term that was current at the time to imply Natural philosophy), and that "Hume's plan is to extend to philosophy in general the methodological limitations of Newtonian physics".  Until recently, Hume was seen as a forerunner of logical positivism; a form of anti-metaphysical empiricism. According to the logical positivists, unless a statement could be verified by experience, or else was true or false by definition (i.e. either tautological or contradictory), then it was meaningless (this is a summary statement of their verification principle). Hume, on this view, was a proto-positivist, who, in his philosophical writings, attempted to demonstrate how ordinary propositions about objects, causal relations, the self, and so on, are semantically equivalent to propositions about one's experiences.  Many commentators have since rejected this understanding of Humean empiricism, stressing an epistemological (rather than a semantic) reading of his project. According to this opposing view, Hume's empiricism consisted in the idea that it is our knowledge, and not our ability to conceive, that is restricted to what can be experienced. Hume thought that we can form beliefs about that which extends beyond any possible experience, through the operation of faculties such as custom and the imagination, but he was sceptical about claims to knowledge on this basis. CANNOTANSWER

Question: What are some other interesting aspects about David Hume besides being seen as a forerunner of logical positivism?
Answer: Many commentators have since rejected this understanding of Humean empiricism, stressing an epistemological (rather than a semantic) reading of his project.
Los Campesinos!

Context: Their debut album, Hold on Now, Youngster..., was released in the UK on 25 February 2008 and in North America on 1 April 2008. They also embarked on a European and North American tour in support of the album. The NME rated the album 6/10, praising its musicality but criticising its cohesiveness, but other sources, such as Pitchfork Media and Drowned in Sound, lauded it. They made their TV debut on Tubridy Tonight on 9 February 2008. Two weeks after the release of the album, Harriet appeared on Blood Red Shoes' debut album Box of Secrets, contributing violin on the track "Hope You're Holding Up".  On 1 August 2008, the band announced that a record titled We Are Beautiful, We Are Doomed would be released before the end of the year, and the date later confirmed for this was 13 October, although that was later pushed back to 27 October 2008. The band explained: "This is no post-album cash in. It's no B-Sides and rarities or 'songs that weren't good enough to be on the album cobbled together with some remixes and field recordings of Cardiff's indie scene'; it's ten all-new tracks that none of you have ever heard before." No singles were released from the record, and its distribution was limited.  In October 2008, the band performed around England, headlining the Shred Yr Face tour with support from No Age and Times New Viking. In April 2009, the band played in Argentina, Colombia and Venezuela, their first performances in South America. CANNOTANSWER

Question: Was 'hold on youngster' an album?
Answer: Their debut album, Hold on Now, Youngster..., was released in the UK on 25 February 2008 and in North America on 1 April 2008.
Los Campesinos!

Context: Their debut album, Hold on Now, Youngster..., was released in the UK on 25 February 2008 and in North America on 1 April 2008. They also embarked on a European and North American tour in support of the album. The NME rated the album 6/10, praising its musicality but criticising its cohesiveness, but other sources, such as Pitchfork Media and Drowned in Sound, lauded it. They made their TV debut on Tubridy Tonight on 9 February 2008. Two weeks after the release of the album, Harriet appeared on Blood Red Shoes' debut album Box of Secrets, contributing violin on the track "Hope You're Holding Up".  On 1 August 2008, the band announced that a record titled We Are Beautiful, We Are Doomed would be released before the end of the year, and the date later confirmed for this was 13 October, although that was later pushed back to 27 October 2008. The band explained: "This is no post-album cash in. It's no B-Sides and rarities or 'songs that weren't good enough to be on the album cobbled together with some remixes and field recordings of Cardiff's indie scene'; it's ten all-new tracks that none of you have ever heard before." No singles were released from the record, and its distribution was limited.  In October 2008, the band performed around England, headlining the Shred Yr Face tour with support from No Age and Times New Viking. In April 2009, the band played in Argentina, Colombia and Venezuela, their first performances in South America. CANNOTANSWER

Question: How did 'hold on youngster' do in the charts?
Answer: The NME rated the album 6/10, praising its musicality but criticising its cohesiveness,
Los Campesinos!

Context: Their debut album, Hold on Now, Youngster..., was released in the UK on 25 February 2008 and in North America on 1 April 2008. They also embarked on a European and North American tour in support of the album. The NME rated the album 6/10, praising its musicality but criticising its cohesiveness, but other sources, such as Pitchfork Media and Drowned in Sound, lauded it. They made their TV debut on Tubridy Tonight on 9 February 2008. Two weeks after the release of the album, Harriet appeared on Blood Red Shoes' debut album Box of Secrets, contributing violin on the track "Hope You're Holding Up".  On 1 August 2008, the band announced that a record titled We Are Beautiful, We Are Doomed would be released before the end of the year, and the date later confirmed for this was 13 October, although that was later pushed back to 27 October 2008. The band explained: "This is no post-album cash in. It's no B-Sides and rarities or 'songs that weren't good enough to be on the album cobbled together with some remixes and field recordings of Cardiff's indie scene'; it's ten all-new tracks that none of you have ever heard before." No singles were released from the record, and its distribution was limited.  In October 2008, the band performed around England, headlining the Shred Yr Face tour with support from No Age and Times New Viking. In April 2009, the band played in Argentina, Colombia and Venezuela, their first performances in South America. CANNOTANSWER

Question: Did ' hold on youngster' have any singles?
Answer: No singles were released from the record, and its distribution was limited.