gaussalgo/Canard_Wiki-augmented huggingface dataset:
Burt Bacharach

Context: Following his tour of duty in the United States Army, Bacharach spent the next three years as a pianist and conductor for popular singer Vic Damone. Damone recalls: "Burt was clearly bound to go out on his own. He was an exceptionally talented, classically trained pianist, with very clear ideas on the musicality of songs, how they should be played, and what they should sound like. I appreciated his musical gifts." He later worked in similar capacity for various other singers, including Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart (who became his first wife). When he was unable to find better jobs, Bacharach worked at resorts in the Catskill Mountains of New York, where he accompanied singers such as Joel Grey.  In 1956, at age 28, Bacharach's productivity increased when composer Peter Matz recommended him to Marlene Dietrich, who needed an arranger and conductor for her nightclub shows. He then became part-time music director for Dietrich, the German actress and singer who had been an international screen star in the 1930s. They toured worldwide off and on until the early 1960s; when they weren't touring, he wrote songs. As a result of his collaboration with Dietrich, he gained his first major recognition as a conductor and arranger.  In her autobiography, she remembered that Bacharach loved touring in Russia and Poland because the violinists were "extraordinary," and musicians were greatly appreciated by the public. He liked Edinburgh and Paris, along with the Scandinavian countries, and "he also felt at home in Israel," she says, where music was similarly "much revered." Their working relationship ceased by the early 1960s, after about five years with Dietrich, with Bacharach telling her that he wanted to devote his full-time to songwriting. She thought of her time with him as "seventh heaven ... As a man, he embodied everything a woman could wish for. ... How many such men are there? For me he was the only one." CANNOTANSWER

Question: Did Burt Bacharach ever work by himself?
Answer: CANNOTANSWER
Burt Bacharach

Context: Following his tour of duty in the United States Army, Bacharach spent the next three years as a pianist and conductor for popular singer Vic Damone. Damone recalls: "Burt was clearly bound to go out on his own. He was an exceptionally talented, classically trained pianist, with very clear ideas on the musicality of songs, how they should be played, and what they should sound like. I appreciated his musical gifts." He later worked in similar capacity for various other singers, including Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart (who became his first wife). When he was unable to find better jobs, Bacharach worked at resorts in the Catskill Mountains of New York, where he accompanied singers such as Joel Grey.  In 1956, at age 28, Bacharach's productivity increased when composer Peter Matz recommended him to Marlene Dietrich, who needed an arranger and conductor for her nightclub shows. He then became part-time music director for Dietrich, the German actress and singer who had been an international screen star in the 1930s. They toured worldwide off and on until the early 1960s; when they weren't touring, he wrote songs. As a result of his collaboration with Dietrich, he gained his first major recognition as a conductor and arranger.  In her autobiography, she remembered that Bacharach loved touring in Russia and Poland because the violinists were "extraordinary," and musicians were greatly appreciated by the public. He liked Edinburgh and Paris, along with the Scandinavian countries, and "he also felt at home in Israel," she says, where music was similarly "much revered." Their working relationship ceased by the early 1960s, after about five years with Dietrich, with Bacharach telling her that he wanted to devote his full-time to songwriting. She thought of her time with him as "seventh heaven ... As a man, he embodied everything a woman could wish for. ... How many such men are there? For me he was the only one." CANNOTANSWER

Question: Did Burt Bacharach work together with anyone else?
Answer: Bacharach's productivity increased when composer Peter Matz recommended him to Marlene Dietrich,
Burt Bacharach

Context: Following his tour of duty in the United States Army, Bacharach spent the next three years as a pianist and conductor for popular singer Vic Damone. Damone recalls: "Burt was clearly bound to go out on his own. He was an exceptionally talented, classically trained pianist, with very clear ideas on the musicality of songs, how they should be played, and what they should sound like. I appreciated his musical gifts." He later worked in similar capacity for various other singers, including Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart (who became his first wife). When he was unable to find better jobs, Bacharach worked at resorts in the Catskill Mountains of New York, where he accompanied singers such as Joel Grey.  In 1956, at age 28, Bacharach's productivity increased when composer Peter Matz recommended him to Marlene Dietrich, who needed an arranger and conductor for her nightclub shows. He then became part-time music director for Dietrich, the German actress and singer who had been an international screen star in the 1930s. They toured worldwide off and on until the early 1960s; when they weren't touring, he wrote songs. As a result of his collaboration with Dietrich, he gained his first major recognition as a conductor and arranger.  In her autobiography, she remembered that Bacharach loved touring in Russia and Poland because the violinists were "extraordinary," and musicians were greatly appreciated by the public. He liked Edinburgh and Paris, along with the Scandinavian countries, and "he also felt at home in Israel," she says, where music was similarly "much revered." Their working relationship ceased by the early 1960s, after about five years with Dietrich, with Bacharach telling her that he wanted to devote his full-time to songwriting. She thought of her time with him as "seventh heaven ... As a man, he embodied everything a woman could wish for. ... How many such men are there? For me he was the only one." CANNOTANSWER

Question: Other than Marlene Dietrich, was there anyone else Burt Bacharach worked with?
Answer: He later worked in similar capacity for various other singers, including Polly Bergen, Steve Lawrence, the Ames Brothers
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: what was the analysis made on Michael Bennett?
Answer: Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: could you tell me something interesting about the analysis on Michael Bennett?
Answer: In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number.
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: What did Bennett do instead of the usual choreographic expectations?
Answer: The company stumbled through the steps of a hat and cane routine ("Side By Side") and
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: What else did Bennett do other than stumbling through the steps of a hat and cane routine?
Answer: and thus revealed to the audience the physical limitations of the characters' singing and dancing.
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: what was the audience's reaction to seeing the physical limitations of the characters' singing and dancing in the company?
Answer: Bennett made the audience aware that this group had been flung together to perform,
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: did Bennett do any other work that was different aside from Act 2 of the Company?
Answer: in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary.
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: what was revolutionary about Bennett's us of pexiglass towers?
Answer: But Bennett had made the mechanical set his dancers."
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: what did critics have to say about Bennett's style?
Answer: In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":
Michael Bennett (theater)

Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers." CANNOTANSWER

Question: did Bennett have any influences?
Answer: Bennett was influenced by the work of Jerome Robbins. "
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: What role did Ruben Studdard have on Biggest Loser?
Answer: and was credited as its first ever celebrity contestant.
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: Did Ruben Studdard do well on the Biggest Loser  and Unconditional Love?
Answer: Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: Why was Ruben Staddards elimiination voided on the Biggest Loser?
Answer: because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules,
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: What place did Ruben Studdard finish ultimately on the Biggest Loser?
Answer: revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds.
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: Besides Studdards elimination being voided, ws there Anything else notable about Ruben Studdard's appearance on Biggest Loser?
Answer: Studdard credited the weight loss for improving his ability to perform onstage.
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: What was Unconditional Love?
Answer: Unconditional Love is Studdard's sixth studio album and first with his new label,
Ruben Studdard

Context: Studdard joined the cast of fifteenth season of the NBC weight loss competition show The Biggest Loser, and was credited as its first ever celebrity contestant. At 6'3 and 462 pounds, Studdard had the highest starting weight and BMI of the entire cast. A member of the show's Red Team, Studdard was first eliminated in the fourth week after he failed to make his weight loss goal. However, because opposing coach Jillian Michaels had given her team caffeine pills in violation of the rules, Studdard's elimination was voided and he returned before once again being eliminated during the competition's eighth week.  At the show's finale on February 4, 2014 (which coincided with the release of Studdard's newest album, Unconditional Love), it was revealed that he had lost a total of 119 pounds for an ending weight of 343 pounds. Studdard credited the weight loss for improving his ability to perform onstage. During the finale, Studdard also performed his new album's lead single, "Meant to Be", accompanied by the song's cowriter and producer, David Foster, on piano.  Unconditional Love is Studdard's sixth studio album and first with his new label, Verve Records. Foster, who has won 16 Grammy Awards, was the executive producer of the disc, which primarily consists of covers of love songs along with two originals, including "Meant to Be". Studdard has called it "the album that everybody expected from me when I won American Idol." The album features collaborations with Stevie Wonder, Lalah Hathaway, and Eric Benet, and includes covers of songs originally performed by artists such as Paul McCartney, Donny Hathaway, Bonnie Raitt, Marvin Gaye, and Peabo Bryson. Since its release, the album has received some of Studdard's best reviews of his career. According to critics, the album "finds Studdard at the top of his game vocally" and he hits his stride, "exuding grace, confidence and class" as he successfully positions himself as a "stylish crooner." Unconditional Love debuted at #46 on the Billboard 200 and #7 on Billboard's R&B Albums chart.  Studdard prepared for a 2014 tour with his collaborator, Lalah Hathaway, and had planned on releasing a Christmas album at the end of the year. CANNOTANSWER

Question: What was Studdard's sixth studio album and first with his new label?
Answer: Verve Records.
Roberto Mangabeira Unger

Context: Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value.  Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations.  The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. CANNOTANSWER

Question: What did Unger say about economics
Answer: Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away