gaussalgo/Canard_Wiki-augmented huggingface dataset:
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: What is the definition of Conservative hereditary peer?
Answer: CANNOTANSWER
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: What is the role of a hereditary peer?
Answer: peerage was sometimes seen as an impediment to a future political career.
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: How was peerage seen as an impediment to a future political career?
Answer: Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: Besides politics, did hereditary peers have any other roles?
Answer: CANNOTANSWER
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: Other than politics, are there any other interesting aspects about this article?
Answer: two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers.
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: Was hereditary peerage a reference to the House of Lords?
Answer: In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords.
Hereditary peer

Context: Until 1963 peers could not disclaim their peerage in order to sit in the House of Commons, and thus a peerage was sometimes seen as an impediment to a future political career.  In 1999, the House of Lords Act abolished the automatic right of hereditary peers to sit in the House of Lords. Out of about 750 hereditary peers, only 92 may sit in the House of Lords. The Act provides that 90 of those 92 seats are to be elected by other members of the House: 15 by vote of the whole house (including life peers), 42 by the Conservative hereditary peers, two by the Labour hereditary peers, three by the Liberal Democrat hereditary peers, and 28 by the crossbench hereditary peers. Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote. Hereditary peers elected hold their seats until their death, resignation or exclusion for non-attendance (the latter two means introduced by the House of Lords Reform Act 2014), at which point by-elections are held to maintain the number at 92.  The remaining two hold their seats by right of the hereditary offices of Earl Marshal and Lord Great Chamberlain. These offices are hereditary in themselves, and in recent times have been held by the Dukes of Norfolk and the Marquesses of Cholmondeley respectively. These are the only two hereditary peers whose right to sit is automatic.  The Government reserves a number of political and ceremonial positions for hereditary peers. To encourage hereditary peers in the House of Lords to follow the party line, a number of Lords-in-Waiting (government whips) are usually hereditary peers. This practice was not adhered to by the Labour government of 1997-2010 due to the small number of Labour hereditary peers in the House of Lords. CANNOTANSWER

Question: Besides the 1999 House of Lords Act, is there any additional information about the peer roles in the House of Lords?
Answer: Elections were held in October and November 1999 to choose those initial 90 peers, with all hereditary peers eligible to vote.
Juan Carlos I of Spain

Context: The Spanish press gave the announcement a broadly positive reception, but described the moment as an "institutional crisis" and "a very important moment in the history of democratic Spain". Around Spain and in major cities (including London) the news was met by republican celebration and protests, calling for the end of the monarchy.  Catalan leader Artur Mas said that the news of the King's abdication would not slow down the process of independence for Catalonia. Inigo Urkullu, the President of the Basque government, concluded that the King's reign was "full of light yet also darkness" and said that his successor Felipe should remember that "the Basque Question has not been resolved". Other regional leaders had more positive evaluations of Juan Carlos following his decision to abdicate: Alberto Nunez Feijoo of Galicia called him "the King of Democracy" who "guaranteed the continuation of constitutional monarchy" and Alberto Fabra of the Valencian Community said that Spaniards are proud of their king who had been "at the forefront of protecting our interests inside and outside of our borders".  British Prime Minister David Cameron stated: "I would like to use this opportunity to make a tribute to King Juan Carlos, who has done so much during his reign to aid the successful Spanish transition to democracy, and has been a great friend of the United Kingdom." The President of the European Commission, Jose Manuel Barroso, said that Juan Carlos was a "believer in Europeanism and modernity...without whom one could not understand modern Spain".  The Spanish public also gave a broadly positive opinion not only of the abdication but of his reign as a whole. According to a poll taken by El Mundo, 65 percent saw the king's reign as either good or very good, up from 41.3 percent. Overall, 55.7 percent of those polled in the 3-5 June survey by Sigma Dos supported the institution of the monarchy in Spain, up from 49.9 percent when the same question was posed six months prior. 57.5 percent believed the prince could restore the royal family's lost prestige. An overwhelming majority of Spaniards believed the new king, Felipe VI, would make a good monarch and more than three-quarters believed King Juan Carlos had been right to hand over the throne to his son. CANNOTANSWER

Question: What were Juan Carlos I of Spain reactions?
Answer: The Spanish press gave the announcement a broadly positive reception, but described the moment as an "institutional crisis" and "a very important moment in the history of democratic Spain".
Juan Carlos I of Spain

Context: The Spanish press gave the announcement a broadly positive reception, but described the moment as an "institutional crisis" and "a very important moment in the history of democratic Spain". Around Spain and in major cities (including London) the news was met by republican celebration and protests, calling for the end of the monarchy.  Catalan leader Artur Mas said that the news of the King's abdication would not slow down the process of independence for Catalonia. Inigo Urkullu, the President of the Basque government, concluded that the King's reign was "full of light yet also darkness" and said that his successor Felipe should remember that "the Basque Question has not been resolved". Other regional leaders had more positive evaluations of Juan Carlos following his decision to abdicate: Alberto Nunez Feijoo of Galicia called him "the King of Democracy" who "guaranteed the continuation of constitutional monarchy" and Alberto Fabra of the Valencian Community said that Spaniards are proud of their king who had been "at the forefront of protecting our interests inside and outside of our borders".  British Prime Minister David Cameron stated: "I would like to use this opportunity to make a tribute to King Juan Carlos, who has done so much during his reign to aid the successful Spanish transition to democracy, and has been a great friend of the United Kingdom." The President of the European Commission, Jose Manuel Barroso, said that Juan Carlos was a "believer in Europeanism and modernity...without whom one could not understand modern Spain".  The Spanish public also gave a broadly positive opinion not only of the abdication but of his reign as a whole. According to a poll taken by El Mundo, 65 percent saw the king's reign as either good or very good, up from 41.3 percent. Overall, 55.7 percent of those polled in the 3-5 June survey by Sigma Dos supported the institution of the monarchy in Spain, up from 49.9 percent when the same question was posed six months prior. 57.5 percent believed the prince could restore the royal family's lost prestige. An overwhelming majority of Spaniards believed the new king, Felipe VI, would make a good monarch and more than three-quarters believed King Juan Carlos had been right to hand over the throne to his son. CANNOTANSWER

Question: Did Juan Carlos I of Spain have other roles aside from the Spanish press announcement?
Answer: CANNOTANSWER
Juan Carlos I of Spain

Context: The Spanish press gave the announcement a broadly positive reception, but described the moment as an "institutional crisis" and "a very important moment in the history of democratic Spain". Around Spain and in major cities (including London) the news was met by republican celebration and protests, calling for the end of the monarchy.  Catalan leader Artur Mas said that the news of the King's abdication would not slow down the process of independence for Catalonia. Inigo Urkullu, the President of the Basque government, concluded that the King's reign was "full of light yet also darkness" and said that his successor Felipe should remember that "the Basque Question has not been resolved". Other regional leaders had more positive evaluations of Juan Carlos following his decision to abdicate: Alberto Nunez Feijoo of Galicia called him "the King of Democracy" who "guaranteed the continuation of constitutional monarchy" and Alberto Fabra of the Valencian Community said that Spaniards are proud of their king who had been "at the forefront of protecting our interests inside and outside of our borders".  British Prime Minister David Cameron stated: "I would like to use this opportunity to make a tribute to King Juan Carlos, who has done so much during his reign to aid the successful Spanish transition to democracy, and has been a great friend of the United Kingdom." The President of the European Commission, Jose Manuel Barroso, said that Juan Carlos was a "believer in Europeanism and modernity...without whom one could not understand modern Spain".  The Spanish public also gave a broadly positive opinion not only of the abdication but of his reign as a whole. According to a poll taken by El Mundo, 65 percent saw the king's reign as either good or very good, up from 41.3 percent. Overall, 55.7 percent of those polled in the 3-5 June survey by Sigma Dos supported the institution of the monarchy in Spain, up from 49.9 percent when the same question was posed six months prior. 57.5 percent believed the prince could restore the royal family's lost prestige. An overwhelming majority of Spaniards believed the new king, Felipe VI, would make a good monarch and more than three-quarters believed King Juan Carlos had been right to hand over the throne to his son. CANNOTANSWER

Question: What happened to Juan Carlos I of Spain after the Spanish press' reactions?
Answer: David Cameron stated: "I would like to use this opportunity to make a tribute to King Juan Carlos, who has done so much during his reign
Juan Carlos I of Spain

Context: The Spanish press gave the announcement a broadly positive reception, but described the moment as an "institutional crisis" and "a very important moment in the history of democratic Spain". Around Spain and in major cities (including London) the news was met by republican celebration and protests, calling for the end of the monarchy.  Catalan leader Artur Mas said that the news of the King's abdication would not slow down the process of independence for Catalonia. Inigo Urkullu, the President of the Basque government, concluded that the King's reign was "full of light yet also darkness" and said that his successor Felipe should remember that "the Basque Question has not been resolved". Other regional leaders had more positive evaluations of Juan Carlos following his decision to abdicate: Alberto Nunez Feijoo of Galicia called him "the King of Democracy" who "guaranteed the continuation of constitutional monarchy" and Alberto Fabra of the Valencian Community said that Spaniards are proud of their king who had been "at the forefront of protecting our interests inside and outside of our borders".  British Prime Minister David Cameron stated: "I would like to use this opportunity to make a tribute to King Juan Carlos, who has done so much during his reign to aid the successful Spanish transition to democracy, and has been a great friend of the United Kingdom." The President of the European Commission, Jose Manuel Barroso, said that Juan Carlos was a "believer in Europeanism and modernity...without whom one could not understand modern Spain".  The Spanish public also gave a broadly positive opinion not only of the abdication but of his reign as a whole. According to a poll taken by El Mundo, 65 percent saw the king's reign as either good or very good, up from 41.3 percent. Overall, 55.7 percent of those polled in the 3-5 June survey by Sigma Dos supported the institution of the monarchy in Spain, up from 49.9 percent when the same question was posed six months prior. 57.5 percent believed the prince could restore the royal family's lost prestige. An overwhelming majority of Spaniards believed the new king, Felipe VI, would make a good monarch and more than three-quarters believed King Juan Carlos had been right to hand over the throne to his son. CANNOTANSWER

Question: How long was Juan Carlos I of Spain King?
Answer: CANNOTANSWER
Me and Orson Welles

Context: Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager (in reality, the 15-year-old Arthur Anderson, who played Lucius in Welles' production) involved in the founding of Orson Welles' Mercury Theatre. After receiving funding from CinemaNX, a production company backed by the Isle of Man film fund, and an offer from Framestore Features to co-finance the film, Richard Linklater came on board to direct Me and Orson Welles. Zac Efron signed on as the lead in early January 2008, claiming he decided to take the role of Richard Samuels because "It's a completely different project than I've ever done before," while Claire Danes joined the cast as the protagonist's love interest Sonja Jones in late January.  In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud: The Lives of Orson Welles at a number of venues, including the Edinburgh Festival and King's Head (London). He reprised the role in the U.S. at the 2007 "Brits Off Broadway" festival, where Linklater saw his performance and then cast McKay as Welles, retaining him over the subsequent objections of the project's producer.  Me and Orson Welles underwent filming in the Isle of Man, Pinewood Studios, London and New York from February to April 2008. Filming in London commenced first in mid-February, before scenes in the Isle of Man were shot February 24-March 14, 2008, where filming locations included Gaiety Theatre and various other parts of Douglas. During filming in Douglas, Efron and Danes believe they sighted a ghost, or "supernatural" being, outside a window on set at Gaiety Theatre.  Filming in Britain resumed in late March for six weeks at Pinewood Studios. Other locations included Crystal Palace Park, where a facade of New York's Mercury Theatre was set up for a scene. Actor James Tupper claimed that the best replica of an old New York theater was in England, while many of the actors who filled the company were from the Royal Shakespeare Company. The production crew only briefly visited New York; photographs were taken and footage shot to be added into the film as digital effects. Every exterior shot was filmed on a single street built at Pinewood Studios with a green screen at one end; different angles and slightly altered set designs were used between shots to make the street appear different each time. CANNOTANSWER

Question: Who's idea was it to make the film Me and Orson Welles?
Answer: Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager
Me and Orson Welles

Context: Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager (in reality, the 15-year-old Arthur Anderson, who played Lucius in Welles' production) involved in the founding of Orson Welles' Mercury Theatre. After receiving funding from CinemaNX, a production company backed by the Isle of Man film fund, and an offer from Framestore Features to co-finance the film, Richard Linklater came on board to direct Me and Orson Welles. Zac Efron signed on as the lead in early January 2008, claiming he decided to take the role of Richard Samuels because "It's a completely different project than I've ever done before," while Claire Danes joined the cast as the protagonist's love interest Sonja Jones in late January.  In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud: The Lives of Orson Welles at a number of venues, including the Edinburgh Festival and King's Head (London). He reprised the role in the U.S. at the 2007 "Brits Off Broadway" festival, where Linklater saw his performance and then cast McKay as Welles, retaining him over the subsequent objections of the project's producer.  Me and Orson Welles underwent filming in the Isle of Man, Pinewood Studios, London and New York from February to April 2008. Filming in London commenced first in mid-February, before scenes in the Isle of Man were shot February 24-March 14, 2008, where filming locations included Gaiety Theatre and various other parts of Douglas. During filming in Douglas, Efron and Danes believe they sighted a ghost, or "supernatural" being, outside a window on set at Gaiety Theatre.  Filming in Britain resumed in late March for six weeks at Pinewood Studios. Other locations included Crystal Palace Park, where a facade of New York's Mercury Theatre was set up for a scene. Actor James Tupper claimed that the best replica of an old New York theater was in England, while many of the actors who filled the company were from the Royal Shakespeare Company. The production crew only briefly visited New York; photographs were taken and footage shot to be added into the film as digital effects. Every exterior shot was filmed on a single street built at Pinewood Studios with a green screen at one end; different angles and slightly altered set designs were used between shots to make the street appear different each time. CANNOTANSWER

Question: Who produced the film Me and Orson Welles?
Answer: Zac Efron signed on as the lead in early January 2008,
Me and Orson Welles

Context: Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager (in reality, the 15-year-old Arthur Anderson, who played Lucius in Welles' production) involved in the founding of Orson Welles' Mercury Theatre. After receiving funding from CinemaNX, a production company backed by the Isle of Man film fund, and an offer from Framestore Features to co-finance the film, Richard Linklater came on board to direct Me and Orson Welles. Zac Efron signed on as the lead in early January 2008, claiming he decided to take the role of Richard Samuels because "It's a completely different project than I've ever done before," while Claire Danes joined the cast as the protagonist's love interest Sonja Jones in late January.  In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud: The Lives of Orson Welles at a number of venues, including the Edinburgh Festival and King's Head (London). He reprised the role in the U.S. at the 2007 "Brits Off Broadway" festival, where Linklater saw his performance and then cast McKay as Welles, retaining him over the subsequent objections of the project's producer.  Me and Orson Welles underwent filming in the Isle of Man, Pinewood Studios, London and New York from February to April 2008. Filming in London commenced first in mid-February, before scenes in the Isle of Man were shot February 24-March 14, 2008, where filming locations included Gaiety Theatre and various other parts of Douglas. During filming in Douglas, Efron and Danes believe they sighted a ghost, or "supernatural" being, outside a window on set at Gaiety Theatre.  Filming in Britain resumed in late March for six weeks at Pinewood Studios. Other locations included Crystal Palace Park, where a facade of New York's Mercury Theatre was set up for a scene. Actor James Tupper claimed that the best replica of an old New York theater was in England, while many of the actors who filled the company were from the Royal Shakespeare Company. The production crew only briefly visited New York; photographs were taken and footage shot to be added into the film as digital effects. Every exterior shot was filmed on a single street built at Pinewood Studios with a green screen at one end; different angles and slightly altered set designs were used between shots to make the street appear different each time. CANNOTANSWER

Question: Who were some of the actors in the film Me and Orson Welles?
Answer: In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud:
Me and Orson Welles

Context: Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager (in reality, the 15-year-old Arthur Anderson, who played Lucius in Welles' production) involved in the founding of Orson Welles' Mercury Theatre. After receiving funding from CinemaNX, a production company backed by the Isle of Man film fund, and an offer from Framestore Features to co-finance the film, Richard Linklater came on board to direct Me and Orson Welles. Zac Efron signed on as the lead in early January 2008, claiming he decided to take the role of Richard Samuels because "It's a completely different project than I've ever done before," while Claire Danes joined the cast as the protagonist's love interest Sonja Jones in late January.  In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud: The Lives of Orson Welles at a number of venues, including the Edinburgh Festival and King's Head (London). He reprised the role in the U.S. at the 2007 "Brits Off Broadway" festival, where Linklater saw his performance and then cast McKay as Welles, retaining him over the subsequent objections of the project's producer.  Me and Orson Welles underwent filming in the Isle of Man, Pinewood Studios, London and New York from February to April 2008. Filming in London commenced first in mid-February, before scenes in the Isle of Man were shot February 24-March 14, 2008, where filming locations included Gaiety Theatre and various other parts of Douglas. During filming in Douglas, Efron and Danes believe they sighted a ghost, or "supernatural" being, outside a window on set at Gaiety Theatre.  Filming in Britain resumed in late March for six weeks at Pinewood Studios. Other locations included Crystal Palace Park, where a facade of New York's Mercury Theatre was set up for a scene. Actor James Tupper claimed that the best replica of an old New York theater was in England, while many of the actors who filled the company were from the Royal Shakespeare Company. The production crew only briefly visited New York; photographs were taken and footage shot to be added into the film as digital effects. Every exterior shot was filmed on a single street built at Pinewood Studios with a green screen at one end; different angles and slightly altered set designs were used between shots to make the street appear different each time. CANNOTANSWER

Question: Was there any problems in the production of the film Me and Orson Welles?
Answer: CANNOTANSWER
Ode to Billie Joe

Context: The song is a first-person narrative to "sparse"  musical accompaniment. It reveals a tale, mostly in the form of brief dialog extracts by the narrator's family at dinnertime, on the day that a local boy - and apparently friend of the narrator - jumped to his death from a nearby bridge. Throughout the song, the suicide and other tragedies are contrasted against the banality of everyday routine and polite conversation. The final verse conveys the quick passage of events and other deaths in a year's time.  The song begins with the narrator, her brother and her father returning, after agricultural morning chores, to the family house for dinner (on June 3). After cautioning them about tracking in dirt, "Mama" says that she "got some news this mornin' from Choctaw Ridge" that "Billie Joe McAllister jumped off the Tallahatchie Bridge".  At the dinner table, the narrator's father appears unmoved and almost dismissive; he comments that "Billie Joe never had a lick o' [meaning, any] sense", and asks for the biscuits to be passed to him, and comments that he has "five more acres in the lower forty" to plow. Her brother seems somewhat taken aback ("I saw him at the sawmill yesterday ... And now you tell me Billie Joe has jumped off the Tallahatchie Bridge"), but follows the comment by asking for a second slice of pie. He recalls a prank that he and his friends played on the narrator, and that he saw her and Billie Joe talking after church a few days previously.  The only person who seems genuinely upset is the narrator. Her mother - who eventually notices the narrator's abrupt and complete change of mood at the news - seems unable to realize she is affected by the news ("Child, what's happened to your appetite? I been cookin' all mornin' and you haven't touched a single bite"). She shares other news instead, that a local preacher visited earlier in the day, and almost as an aside, that the preacher had mentioned seeing Billie Joe and a girl who looked very much like the narrator herself "throwin' somethin' off the Tallahatchie Bridge" - the object they were throwing is not identified. But again, the narrator's mother fails to connect this in any way to her daughter's emotional distress.  In the song's final verse, a year has passed, and brought more harm and pain. The narrator's brother has married Becky Thompson, but they have moved away to another town ("bought a store in Tupelo"). Their father died from an unspecified viral infection, and their mother has been depressed and despondent, and "doesn't seem to wanna do much of anything". The narrator is also affected by the malaise; the main change she describes in her own life, is that she often visits Choctaw Ridge and picks flowers there to drop from the Tallahatchie Bridge into the murky waters of the river where Billy Joe jumped to his death. CANNOTANSWER

Question: what was the story of Ode to Billie Joe about?
Answer: The song is a first-person narrative to "sparse"  musical accompaniment. It reveals a tale, mostly in the form of brief dialog extracts by the narrator's family at dinnertime,
Ode to Billie Joe

Context: The song is a first-person narrative to "sparse"  musical accompaniment. It reveals a tale, mostly in the form of brief dialog extracts by the narrator's family at dinnertime, on the day that a local boy - and apparently friend of the narrator - jumped to his death from a nearby bridge. Throughout the song, the suicide and other tragedies are contrasted against the banality of everyday routine and polite conversation. The final verse conveys the quick passage of events and other deaths in a year's time.  The song begins with the narrator, her brother and her father returning, after agricultural morning chores, to the family house for dinner (on June 3). After cautioning them about tracking in dirt, "Mama" says that she "got some news this mornin' from Choctaw Ridge" that "Billie Joe McAllister jumped off the Tallahatchie Bridge".  At the dinner table, the narrator's father appears unmoved and almost dismissive; he comments that "Billie Joe never had a lick o' [meaning, any] sense", and asks for the biscuits to be passed to him, and comments that he has "five more acres in the lower forty" to plow. Her brother seems somewhat taken aback ("I saw him at the sawmill yesterday ... And now you tell me Billie Joe has jumped off the Tallahatchie Bridge"), but follows the comment by asking for a second slice of pie. He recalls a prank that he and his friends played on the narrator, and that he saw her and Billie Joe talking after church a few days previously.  The only person who seems genuinely upset is the narrator. Her mother - who eventually notices the narrator's abrupt and complete change of mood at the news - seems unable to realize she is affected by the news ("Child, what's happened to your appetite? I been cookin' all mornin' and you haven't touched a single bite"). She shares other news instead, that a local preacher visited earlier in the day, and almost as an aside, that the preacher had mentioned seeing Billie Joe and a girl who looked very much like the narrator herself "throwin' somethin' off the Tallahatchie Bridge" - the object they were throwing is not identified. But again, the narrator's mother fails to connect this in any way to her daughter's emotional distress.  In the song's final verse, a year has passed, and brought more harm and pain. The narrator's brother has married Becky Thompson, but they have moved away to another town ("bought a store in Tupelo"). Their father died from an unspecified viral infection, and their mother has been depressed and despondent, and "doesn't seem to wanna do much of anything". The narrator is also affected by the malaise; the main change she describes in her own life, is that she often visits Choctaw Ridge and picks flowers there to drop from the Tallahatchie Bridge into the murky waters of the river where Billy Joe jumped to his death. CANNOTANSWER

Question: was Ode to Billie Joe a popular song?
Answer: CANNOTANSWER
Ode to Billie Joe

Context: The song is a first-person narrative to "sparse"  musical accompaniment. It reveals a tale, mostly in the form of brief dialog extracts by the narrator's family at dinnertime, on the day that a local boy - and apparently friend of the narrator - jumped to his death from a nearby bridge. Throughout the song, the suicide and other tragedies are contrasted against the banality of everyday routine and polite conversation. The final verse conveys the quick passage of events and other deaths in a year's time.  The song begins with the narrator, her brother and her father returning, after agricultural morning chores, to the family house for dinner (on June 3). After cautioning them about tracking in dirt, "Mama" says that she "got some news this mornin' from Choctaw Ridge" that "Billie Joe McAllister jumped off the Tallahatchie Bridge".  At the dinner table, the narrator's father appears unmoved and almost dismissive; he comments that "Billie Joe never had a lick o' [meaning, any] sense", and asks for the biscuits to be passed to him, and comments that he has "five more acres in the lower forty" to plow. Her brother seems somewhat taken aback ("I saw him at the sawmill yesterday ... And now you tell me Billie Joe has jumped off the Tallahatchie Bridge"), but follows the comment by asking for a second slice of pie. He recalls a prank that he and his friends played on the narrator, and that he saw her and Billie Joe talking after church a few days previously.  The only person who seems genuinely upset is the narrator. Her mother - who eventually notices the narrator's abrupt and complete change of mood at the news - seems unable to realize she is affected by the news ("Child, what's happened to your appetite? I been cookin' all mornin' and you haven't touched a single bite"). She shares other news instead, that a local preacher visited earlier in the day, and almost as an aside, that the preacher had mentioned seeing Billie Joe and a girl who looked very much like the narrator herself "throwin' somethin' off the Tallahatchie Bridge" - the object they were throwing is not identified. But again, the narrator's mother fails to connect this in any way to her daughter's emotional distress.  In the song's final verse, a year has passed, and brought more harm and pain. The narrator's brother has married Becky Thompson, but they have moved away to another town ("bought a store in Tupelo"). Their father died from an unspecified viral infection, and their mother has been depressed and despondent, and "doesn't seem to wanna do much of anything". The narrator is also affected by the malaise; the main change she describes in her own life, is that she often visits Choctaw Ridge and picks flowers there to drop from the Tallahatchie Bridge into the murky waters of the river where Billy Joe jumped to his death. CANNOTANSWER

Question: what inspired the story of the song Ode to Billie Joe?
Answer: and apparently friend of the narrator - jumped to his death from a nearby bridge. Throughout the song, the suicide and other tragedies are contrasted against the banality of everyday
Ode to Billie Joe

Context: The song is a first-person narrative to "sparse"  musical accompaniment. It reveals a tale, mostly in the form of brief dialog extracts by the narrator's family at dinnertime, on the day that a local boy - and apparently friend of the narrator - jumped to his death from a nearby bridge. Throughout the song, the suicide and other tragedies are contrasted against the banality of everyday routine and polite conversation. The final verse conveys the quick passage of events and other deaths in a year's time.  The song begins with the narrator, her brother and her father returning, after agricultural morning chores, to the family house for dinner (on June 3). After cautioning them about tracking in dirt, "Mama" says that she "got some news this mornin' from Choctaw Ridge" that "Billie Joe McAllister jumped off the Tallahatchie Bridge".  At the dinner table, the narrator's father appears unmoved and almost dismissive; he comments that "Billie Joe never had a lick o' [meaning, any] sense", and asks for the biscuits to be passed to him, and comments that he has "five more acres in the lower forty" to plow. Her brother seems somewhat taken aback ("I saw him at the sawmill yesterday ... And now you tell me Billie Joe has jumped off the Tallahatchie Bridge"), but follows the comment by asking for a second slice of pie. He recalls a prank that he and his friends played on the narrator, and that he saw her and Billie Joe talking after church a few days previously.  The only person who seems genuinely upset is the narrator. Her mother - who eventually notices the narrator's abrupt and complete change of mood at the news - seems unable to realize she is affected by the news ("Child, what's happened to your appetite? I been cookin' all mornin' and you haven't touched a single bite"). She shares other news instead, that a local preacher visited earlier in the day, and almost as an aside, that the preacher had mentioned seeing Billie Joe and a girl who looked very much like the narrator herself "throwin' somethin' off the Tallahatchie Bridge" - the object they were throwing is not identified. But again, the narrator's mother fails to connect this in any way to her daughter's emotional distress.  In the song's final verse, a year has passed, and brought more harm and pain. The narrator's brother has married Becky Thompson, but they have moved away to another town ("bought a store in Tupelo"). Their father died from an unspecified viral infection, and their mother has been depressed and despondent, and "doesn't seem to wanna do much of anything". The narrator is also affected by the malaise; the main change she describes in her own life, is that she often visits Choctaw Ridge and picks flowers there to drop from the Tallahatchie Bridge into the murky waters of the river where Billy Joe jumped to his death. CANNOTANSWER

Question: Besides what inspired the story of the song Ode to Billie Joe what other interesting aspects are there about this article?
Answer: In the song's final verse, a year has passed, and brought more harm and pain. The narrator's brother has married Becky Thompson, but they have moved away to another town