gaussalgo/Canard_Wiki-augmented huggingface dataset:
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: did the fans of Chicago like the Graphics ?
Answer: In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit,
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: did Graphis by Chicago win awards?
Answer: Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: Besides 1976 Grammy Award, is there anything else interesting about Graphics?
Answer: The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form,
Chicago (band)

Context: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo, in the attitude of the city of Chicago itself, and in the desire to visually transcend the individual identities of the band's members. It was designed by the Art Director of Columbia/CBS Records, John Berg, with each album's graphic art work being done by Nick Fasciano. Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."  The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.  The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design". In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.  The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO." CANNOTANSWER

Question: when did the book Type and Image: The Language of Graphic Design come out?
Answer: CANNOTANSWER
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: Did John Harvey Kellogg support drinking alcohol?
Answer: he felt that alcohol was a poison.
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: Why was John Harvey Kellogg against alcohol?
Answer: Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: Aside from alcohol,What other beverages was John Harvey Kellogg against?
Answer: CANNOTANSWER
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: How did John Harvey Kellogg feel about coffee and tea hot chocolate?
Answer: Kellogg also opposed tea and coffee due to the caffeine content
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: What did John Harvey Kellogg feel was bad about using caffeine?
Answer: His view was that caffeine was a poison.
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: What was the popular view of alcohol at the time?
Answer: alcohol was a stimulant.
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: What research did John Harvey Kellogg use to go against the popular view?
Answer: Kellogg's view was that "nature has supplied us with pure water,
John Harvey Kellogg

Context: Though alcoholic beverages were commonly used a stimulant by the medical community during the time that Kellogg began his medical practice, he was firm in his opposition to the practice. The usage of alcohol as a remedy to anything was "an evil of stupendous proportions."  Kellogg went against the prevailing notion of the time that alcohol was a stimulant. Citing contemporary research, Kellogg believed that alcohol could not be a stimulant because it lessened vital activity and depressed vital forces. Seeing its effects on plants, animals, and humans, he felt that alcohol was a poison. Kellogg noticed deleterious effects that alcohol had on both the brain, the digestive system, and the liver, among other organs.  In addition to the idea that alcohol was an unsuitable therapeutic tool, Kellogg also considered it to lead to mental and moral bankruptcy. Alcohol was "one of the devil's most efficient agents for destroying the happiness of man, both for the present and the hereafter." Even moderate drinkers were subject to these effects, as Kellogg felt that a poison was a poison in all doses.  Kellogg also opposed tea and coffee due to the caffeine content of those beverages. His view was that caffeine was a poison. Not only did he detail numerous physiological and developmental problems caused by caffeine, but he also suggested that caffeine usage could lead to moral deficiencies. He blamed the prevalence of these beverages not only on the prohibition of alcoholic beverages at the time, but also on the extensive marketing efforts organized by the producers of these products. Kellogg's view was that "nature has supplied us with pure water, with a great variety of fruit juices and wholesome and harmless flavors quite sufficient to meet all our needs."  As early as the 1880s, Kellogg had prepared charts and lectures on the dangers of tobacco and alcohol, which were used widely by lecturers who encouraged temperance in their students. In 1878, John Harvey Kellogg, along with Ellen White, the founder of the Seventh-day Adventists, and several others, had organized the American Health and Temperance Association. The goal of this organization was to expose the far-reaching dangers of tobacco, alcohol, tea, and coffee. For the 15 years that the organization persisted, Kellogg remained as its president. CANNOTANSWER

Question: Besides Kellogg, Did John Harvey Kellogg work with any other professionals on John Harvey Kellogg views?
Answer: John Harvey Kellogg, along with Ellen White,
Paula Abdul

Context: By 1995, Paula Abdul had recovered from her battle with the eating disorder bulimia nervosa and prepared to return to the spotlight with her new album Head over Heels. The first single off the album, "My Love Is for Real" featured a fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli singer Ofra Haza. Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless. The single was a hit in the clubs (peaking at No. 1 on Billboard's Hot Dance Music/Club Play chart), and made it to No. 28 on Billboard's Hot 100 chart.  The second single, "Crazy Cool", peaked at No. 13 on the dance charts. "Ain't Never Gonna Give You Up" was the album's third and final single. To date, Head over Heels has sold over 500,000 copies in the United States.  In January 1997, Abdul starred in the ABC television movie Touched By Evil, playing a businesswoman who discovers that her boyfriend is a serial rapist. Also that year, Abdul co-wrote the song "Spinning Around" with songwriter and producer Kara DioGuardi, who became a fellow judge on American Idol in 2009. "Spinning Around" was a dance-pop track intended to be the lead single on Abdul's follow-up album to Head over Heels. But the album never materialized, and "Spinning Around" was instead given to Kylie Minogue. The song was highly successful, reaching No. 1 in numerous countries.  While Abdul took a break from the music industry, she remained busy behind the scenes. Abdul served as the choreographer for several film and theater productions, including the 1998 musical Reefer Madness and the cheerleading scenes in the 1999 film American Beauty (she had previously also choreographed the 1991 film The Doors). Abdul also co-produced a 2001 pilot episode of Skirts, a dramatic series that would have aired on MTV about a high-school cheerleading squad; Abdul was also set to appear as the head coach. The pilot never aired.  In 2000, Abdul's Paula Abdul: Greatest Hits CD was released by Virgin Records (with whom Abdul was already no longer affiliated). It included all her hit singles and other noteworthy tracks. The song "Bend Time Back 'Round" had previously been heard only on the 1992 soundtrack for the hit television series Beverly Hills, 90210. CANNOTANSWER

Question: What did Paula Abdul struggle with?
Answer: her battle with the eating disorder bulimia nervosa
Paula Abdul

Context: By 1995, Paula Abdul had recovered from her battle with the eating disorder bulimia nervosa and prepared to return to the spotlight with her new album Head over Heels. The first single off the album, "My Love Is for Real" featured a fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli singer Ofra Haza. Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless. The single was a hit in the clubs (peaking at No. 1 on Billboard's Hot Dance Music/Club Play chart), and made it to No. 28 on Billboard's Hot 100 chart.  The second single, "Crazy Cool", peaked at No. 13 on the dance charts. "Ain't Never Gonna Give You Up" was the album's third and final single. To date, Head over Heels has sold over 500,000 copies in the United States.  In January 1997, Abdul starred in the ABC television movie Touched By Evil, playing a businesswoman who discovers that her boyfriend is a serial rapist. Also that year, Abdul co-wrote the song "Spinning Around" with songwriter and producer Kara DioGuardi, who became a fellow judge on American Idol in 2009. "Spinning Around" was a dance-pop track intended to be the lead single on Abdul's follow-up album to Head over Heels. But the album never materialized, and "Spinning Around" was instead given to Kylie Minogue. The song was highly successful, reaching No. 1 in numerous countries.  While Abdul took a break from the music industry, she remained busy behind the scenes. Abdul served as the choreographer for several film and theater productions, including the 1998 musical Reefer Madness and the cheerleading scenes in the 1999 film American Beauty (she had previously also choreographed the 1991 film The Doors). Abdul also co-produced a 2001 pilot episode of Skirts, a dramatic series that would have aired on MTV about a high-school cheerleading squad; Abdul was also set to appear as the head coach. The pilot never aired.  In 2000, Abdul's Paula Abdul: Greatest Hits CD was released by Virgin Records (with whom Abdul was already no longer affiliated). It included all her hit singles and other noteworthy tracks. The song "Bend Time Back 'Round" had previously been heard only on the 1992 soundtrack for the hit television series Beverly Hills, 90210. CANNOTANSWER

Question: What year was Paula Abdul's battle with the eating disorder bulimia nervosa?
Answer: 1995,
Paula Abdul

Context: By 1995, Paula Abdul had recovered from her battle with the eating disorder bulimia nervosa and prepared to return to the spotlight with her new album Head over Heels. The first single off the album, "My Love Is for Real" featured a fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli singer Ofra Haza. Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless. The single was a hit in the clubs (peaking at No. 1 on Billboard's Hot Dance Music/Club Play chart), and made it to No. 28 on Billboard's Hot 100 chart.  The second single, "Crazy Cool", peaked at No. 13 on the dance charts. "Ain't Never Gonna Give You Up" was the album's third and final single. To date, Head over Heels has sold over 500,000 copies in the United States.  In January 1997, Abdul starred in the ABC television movie Touched By Evil, playing a businesswoman who discovers that her boyfriend is a serial rapist. Also that year, Abdul co-wrote the song "Spinning Around" with songwriter and producer Kara DioGuardi, who became a fellow judge on American Idol in 2009. "Spinning Around" was a dance-pop track intended to be the lead single on Abdul's follow-up album to Head over Heels. But the album never materialized, and "Spinning Around" was instead given to Kylie Minogue. The song was highly successful, reaching No. 1 in numerous countries.  While Abdul took a break from the music industry, she remained busy behind the scenes. Abdul served as the choreographer for several film and theater productions, including the 1998 musical Reefer Madness and the cheerleading scenes in the 1999 film American Beauty (she had previously also choreographed the 1991 film The Doors). Abdul also co-produced a 2001 pilot episode of Skirts, a dramatic series that would have aired on MTV about a high-school cheerleading squad; Abdul was also set to appear as the head coach. The pilot never aired.  In 2000, Abdul's Paula Abdul: Greatest Hits CD was released by Virgin Records (with whom Abdul was already no longer affiliated). It included all her hit singles and other noteworthy tracks. The song "Bend Time Back 'Round" had previously been heard only on the 1992 soundtrack for the hit television series Beverly Hills, 90210. CANNOTANSWER

Question: What did Paula Abdul do after the battle with the eating disorder bulimia nervosa?
Answer: prepared to return to the spotlight with her new album
Paula Abdul

Context: By 1995, Paula Abdul had recovered from her battle with the eating disorder bulimia nervosa and prepared to return to the spotlight with her new album Head over Heels. The first single off the album, "My Love Is for Real" featured a fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli singer Ofra Haza. Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless. The single was a hit in the clubs (peaking at No. 1 on Billboard's Hot Dance Music/Club Play chart), and made it to No. 28 on Billboard's Hot 100 chart.  The second single, "Crazy Cool", peaked at No. 13 on the dance charts. "Ain't Never Gonna Give You Up" was the album's third and final single. To date, Head over Heels has sold over 500,000 copies in the United States.  In January 1997, Abdul starred in the ABC television movie Touched By Evil, playing a businesswoman who discovers that her boyfriend is a serial rapist. Also that year, Abdul co-wrote the song "Spinning Around" with songwriter and producer Kara DioGuardi, who became a fellow judge on American Idol in 2009. "Spinning Around" was a dance-pop track intended to be the lead single on Abdul's follow-up album to Head over Heels. But the album never materialized, and "Spinning Around" was instead given to Kylie Minogue. The song was highly successful, reaching No. 1 in numerous countries.  While Abdul took a break from the music industry, she remained busy behind the scenes. Abdul served as the choreographer for several film and theater productions, including the 1998 musical Reefer Madness and the cheerleading scenes in the 1999 film American Beauty (she had previously also choreographed the 1991 film The Doors). Abdul also co-produced a 2001 pilot episode of Skirts, a dramatic series that would have aired on MTV about a high-school cheerleading squad; Abdul was also set to appear as the head coach. The pilot never aired.  In 2000, Abdul's Paula Abdul: Greatest Hits CD was released by Virgin Records (with whom Abdul was already no longer affiliated). It included all her hit singles and other noteworthy tracks. The song "Bend Time Back 'Round" had previously been heard only on the 1992 soundtrack for the hit television series Beverly Hills, 90210. CANNOTANSWER

Question: What was Paula Abdul's new album called?
Answer: Head over Heels.
Paula Abdul

Context: By 1995, Paula Abdul had recovered from her battle with the eating disorder bulimia nervosa and prepared to return to the spotlight with her new album Head over Heels. The first single off the album, "My Love Is for Real" featured a fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli singer Ofra Haza. Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless. The single was a hit in the clubs (peaking at No. 1 on Billboard's Hot Dance Music/Club Play chart), and made it to No. 28 on Billboard's Hot 100 chart.  The second single, "Crazy Cool", peaked at No. 13 on the dance charts. "Ain't Never Gonna Give You Up" was the album's third and final single. To date, Head over Heels has sold over 500,000 copies in the United States.  In January 1997, Abdul starred in the ABC television movie Touched By Evil, playing a businesswoman who discovers that her boyfriend is a serial rapist. Also that year, Abdul co-wrote the song "Spinning Around" with songwriter and producer Kara DioGuardi, who became a fellow judge on American Idol in 2009. "Spinning Around" was a dance-pop track intended to be the lead single on Abdul's follow-up album to Head over Heels. But the album never materialized, and "Spinning Around" was instead given to Kylie Minogue. The song was highly successful, reaching No. 1 in numerous countries.  While Abdul took a break from the music industry, she remained busy behind the scenes. Abdul served as the choreographer for several film and theater productions, including the 1998 musical Reefer Madness and the cheerleading scenes in the 1999 film American Beauty (she had previously also choreographed the 1991 film The Doors). Abdul also co-produced a 2001 pilot episode of Skirts, a dramatic series that would have aired on MTV about a high-school cheerleading squad; Abdul was also set to appear as the head coach. The pilot never aired.  In 2000, Abdul's Paula Abdul: Greatest Hits CD was released by Virgin Records (with whom Abdul was already no longer affiliated). It included all her hit singles and other noteworthy tracks. The song "Bend Time Back 'Round" had previously been heard only on the 1992 soundtrack for the hit television series Beverly Hills, 90210. CANNOTANSWER

Question: What did Paula Abdul do after the album Head over Heels?
Answer: The first single off the album,
Paula Abdul

Context: By 1995, Paula Abdul had recovered from her battle with the eating disorder bulimia nervosa and prepared to return to the spotlight with her new album Head over Heels. The first single off the album, "My Love Is for Real" featured a fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli singer Ofra Haza. Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless. The single was a hit in the clubs (peaking at No. 1 on Billboard's Hot Dance Music/Club Play chart), and made it to No. 28 on Billboard's Hot 100 chart.  The second single, "Crazy Cool", peaked at No. 13 on the dance charts. "Ain't Never Gonna Give You Up" was the album's third and final single. To date, Head over Heels has sold over 500,000 copies in the United States.  In January 1997, Abdul starred in the ABC television movie Touched By Evil, playing a businesswoman who discovers that her boyfriend is a serial rapist. Also that year, Abdul co-wrote the song "Spinning Around" with songwriter and producer Kara DioGuardi, who became a fellow judge on American Idol in 2009. "Spinning Around" was a dance-pop track intended to be the lead single on Abdul's follow-up album to Head over Heels. But the album never materialized, and "Spinning Around" was instead given to Kylie Minogue. The song was highly successful, reaching No. 1 in numerous countries.  While Abdul took a break from the music industry, she remained busy behind the scenes. Abdul served as the choreographer for several film and theater productions, including the 1998 musical Reefer Madness and the cheerleading scenes in the 1999 film American Beauty (she had previously also choreographed the 1991 film The Doors). Abdul also co-produced a 2001 pilot episode of Skirts, a dramatic series that would have aired on MTV about a high-school cheerleading squad; Abdul was also set to appear as the head coach. The pilot never aired.  In 2000, Abdul's Paula Abdul: Greatest Hits CD was released by Virgin Records (with whom Abdul was already no longer affiliated). It included all her hit singles and other noteworthy tracks. The song "Bend Time Back 'Round" had previously been heard only on the 1992 soundtrack for the hit television series Beverly Hills, 90210. CANNOTANSWER

Question: What style was the first single off the album Head over Heels by Paula Abdul?
Answer: fusion of R&B and traditional Middle Eastern instruments, and was performed with Yemeni-Israeli