gaussalgo/Canard_Wiki-augmented huggingface dataset:
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: What are the associate pythons?
Answer: Several people have been accorded unofficial "Associate Python" status over the years.
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: Who are the associate pythons?
Answer: Neil Innes and Carol Cleveland.
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: What Monty Python films or shows did Neil Innes and Carol Cleveland work on?
Answer: Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films,
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: What were Carol Cleveland's contributions to Monty Python?
Answer: Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows,
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: Does the article mention if Adams is the Hitchhiker Guide to the Galaxy author?
Answer: CANNOTANSWER
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: What films did Neil Innes work on?
Answer: Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch,
Monty Python

Context: Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 'seventh Python', in a style reminiscent of George Martin (or other associates of the Beatles) being dubbed "the Fifth Beatle". The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th-anniversary celebrations held in Los Angeles in July 1994.  Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they recreated sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the seventh Python, it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that Innes and he go back "too far. And no further." Innes has remained silent on the dispute.  Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as "the female Python". She was originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus. The Pythons then pushed to make Cleveland a permanent recurring performer after producer/director Ian MacNaughton brought in several other actresses who were not as good as she was. Cleveland went on to appear in about two-thirds of the episodes, as well as in all of the Python films, and in most of their stage shows, as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way. CANNOTANSWER

Question: Are there any famous sketches Innes wrote or appeared in for Monty Python?
Answer: He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need Is Cash
Harry Houdini

Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing."  Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes.  Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween. CANNOTANSWER

Question: What year did Harry Houdini do the buried alive stunt?
Answer: The first was near Santa Ana, California in 1915, and it almost cost Houdini his life.
Harry Houdini

Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing."  Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes.  Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween. CANNOTANSWER

Question: How did Harry Houdini almost die?
Answer: He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious
Harry Houdini

Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing."  Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes.  Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween. CANNOTANSWER

Question: How long did Harry Houdini's buried alive stunt last?
Answer: CANNOTANSWER
Harry Houdini

Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing."  Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes.  Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween. CANNOTANSWER

Question: Who came to help Harry Houdini after the buried alive stunt?
Answer: When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants.
Harry Houdini

Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing."  Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes.  Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween. CANNOTANSWER

Question: Did Harry Houdini end up in the hospital after the buried alive stunt?
Answer: CANNOTANSWER
Harry Houdini

Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing."  Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes.  Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween. CANNOTANSWER

Question: How old was Harry Houdini when he did the buried alive stunt?
Answer: CANNOTANSWER
Ken Strong

Context: In 1933, Strong signed with the New York Giants. The 1932 Giants had compiled a 4-6-2 record, but the 1933 Giants, with Strong at fullback and Harry Newman at quarterback, improved to 11-3 and advanced to the 1933 NFL Championship Game. Strong led the NFL with 64 points in 1933; his points were scored on three rushing touchdowns, two receiving touchdowns, a touchdown on an interception return, five field goals, and 13 extra points. On November 26, 1933, he became the first known player in NFL history to score on a fair catch kick. The 30-yard kick was made at the Polo Grounds in a win against the Green Bay Packers. After the 1933 season, Strong received first-team All-Pro honors from the United Press, Collyer's Eye, and the Green Bay Press-Gazette.  In 1934, Strong again played in every game for the Giants as a fullback. He rushed for 431 yards and scored 56 points (six rushing touchdowns, four field goals, and eight extra points) in the regular season. His greatest fame derives from his role in the Giants' comeback victory over the Chicago Bears in the 1934 NFL Championship Game; Strong scored 17 points for the Giants on a 38-yard field goal, two fourth-quarter touchdowns on runs of 42 and 8 yards, and two extra points. Strong received first-team All-Pro honors in 1934 from the NFL and others.  In 1935, Strong helped lead the Giants to their third consecutive NFL Championship Game. In a 10-7 victory over the Brooklyn Dodgers, he was only able to play a few minutes due to injury, but he still managed to score all of the Giants' points on a 24-yard touchdown run and a 24-yard field goal. Slowed by injury in 1935, he was described as "a celebrated invalid" who "hobbled" from the bench to kick a field goal for the Giants in a 3-0 victory over the Bears on November 17. In the 1935 NFL Championship Game, a 26-7 loss to the Detroit Lions, Strong scored all of the Giants' points on a long touchdown catch and run and the extra point. CANNOTANSWER

Question: When did Ken Strong join the new york Giants?
Answer: In 1933, Strong signed with the New York Giants.
Ken Strong

Context: In 1933, Strong signed with the New York Giants. The 1932 Giants had compiled a 4-6-2 record, but the 1933 Giants, with Strong at fullback and Harry Newman at quarterback, improved to 11-3 and advanced to the 1933 NFL Championship Game. Strong led the NFL with 64 points in 1933; his points were scored on three rushing touchdowns, two receiving touchdowns, a touchdown on an interception return, five field goals, and 13 extra points. On November 26, 1933, he became the first known player in NFL history to score on a fair catch kick. The 30-yard kick was made at the Polo Grounds in a win against the Green Bay Packers. After the 1933 season, Strong received first-team All-Pro honors from the United Press, Collyer's Eye, and the Green Bay Press-Gazette.  In 1934, Strong again played in every game for the Giants as a fullback. He rushed for 431 yards and scored 56 points (six rushing touchdowns, four field goals, and eight extra points) in the regular season. His greatest fame derives from his role in the Giants' comeback victory over the Chicago Bears in the 1934 NFL Championship Game; Strong scored 17 points for the Giants on a 38-yard field goal, two fourth-quarter touchdowns on runs of 42 and 8 yards, and two extra points. Strong received first-team All-Pro honors in 1934 from the NFL and others.  In 1935, Strong helped lead the Giants to their third consecutive NFL Championship Game. In a 10-7 victory over the Brooklyn Dodgers, he was only able to play a few minutes due to injury, but he still managed to score all of the Giants' points on a 24-yard touchdown run and a 24-yard field goal. Slowed by injury in 1935, he was described as "a celebrated invalid" who "hobbled" from the bench to kick a field goal for the Giants in a 3-0 victory over the Bears on November 17. In the 1935 NFL Championship Game, a 26-7 loss to the Detroit Lions, Strong scored all of the Giants' points on a long touchdown catch and run and the extra point. CANNOTANSWER

Question: How long did Ken Strong play for the New york giants?
Answer: CANNOTANSWER
Ken Strong

Context: In 1933, Strong signed with the New York Giants. The 1932 Giants had compiled a 4-6-2 record, but the 1933 Giants, with Strong at fullback and Harry Newman at quarterback, improved to 11-3 and advanced to the 1933 NFL Championship Game. Strong led the NFL with 64 points in 1933; his points were scored on three rushing touchdowns, two receiving touchdowns, a touchdown on an interception return, five field goals, and 13 extra points. On November 26, 1933, he became the first known player in NFL history to score on a fair catch kick. The 30-yard kick was made at the Polo Grounds in a win against the Green Bay Packers. After the 1933 season, Strong received first-team All-Pro honors from the United Press, Collyer's Eye, and the Green Bay Press-Gazette.  In 1934, Strong again played in every game for the Giants as a fullback. He rushed for 431 yards and scored 56 points (six rushing touchdowns, four field goals, and eight extra points) in the regular season. His greatest fame derives from his role in the Giants' comeback victory over the Chicago Bears in the 1934 NFL Championship Game; Strong scored 17 points for the Giants on a 38-yard field goal, two fourth-quarter touchdowns on runs of 42 and 8 yards, and two extra points. Strong received first-team All-Pro honors in 1934 from the NFL and others.  In 1935, Strong helped lead the Giants to their third consecutive NFL Championship Game. In a 10-7 victory over the Brooklyn Dodgers, he was only able to play a few minutes due to injury, but he still managed to score all of the Giants' points on a 24-yard touchdown run and a 24-yard field goal. Slowed by injury in 1935, he was described as "a celebrated invalid" who "hobbled" from the bench to kick a field goal for the Giants in a 3-0 victory over the Bears on November 17. In the 1935 NFL Championship Game, a 26-7 loss to the Detroit Lions, Strong scored all of the Giants' points on a long touchdown catch and run and the extra point. CANNOTANSWER

Question: What position did Ken Strong  play?
Answer: with Strong at fullback
Ken Strong

Context: In 1933, Strong signed with the New York Giants. The 1932 Giants had compiled a 4-6-2 record, but the 1933 Giants, with Strong at fullback and Harry Newman at quarterback, improved to 11-3 and advanced to the 1933 NFL Championship Game. Strong led the NFL with 64 points in 1933; his points were scored on three rushing touchdowns, two receiving touchdowns, a touchdown on an interception return, five field goals, and 13 extra points. On November 26, 1933, he became the first known player in NFL history to score on a fair catch kick. The 30-yard kick was made at the Polo Grounds in a win against the Green Bay Packers. After the 1933 season, Strong received first-team All-Pro honors from the United Press, Collyer's Eye, and the Green Bay Press-Gazette.  In 1934, Strong again played in every game for the Giants as a fullback. He rushed for 431 yards and scored 56 points (six rushing touchdowns, four field goals, and eight extra points) in the regular season. His greatest fame derives from his role in the Giants' comeback victory over the Chicago Bears in the 1934 NFL Championship Game; Strong scored 17 points for the Giants on a 38-yard field goal, two fourth-quarter touchdowns on runs of 42 and 8 yards, and two extra points. Strong received first-team All-Pro honors in 1934 from the NFL and others.  In 1935, Strong helped lead the Giants to their third consecutive NFL Championship Game. In a 10-7 victory over the Brooklyn Dodgers, he was only able to play a few minutes due to injury, but he still managed to score all of the Giants' points on a 24-yard touchdown run and a 24-yard field goal. Slowed by injury in 1935, he was described as "a celebrated invalid" who "hobbled" from the bench to kick a field goal for the Giants in a 3-0 victory over the Bears on November 17. In the 1935 NFL Championship Game, a 26-7 loss to the Detroit Lions, Strong scored all of the Giants' points on a long touchdown catch and run and the extra point. CANNOTANSWER

Question: Did Ken Strong play well?
Answer: Strong led the NFL with 64 points in 1933; his points were scored on three rushing touchdowns, two receiving touchdowns, a touchdown on an interception return,
Ken Strong

Context: In 1933, Strong signed with the New York Giants. The 1932 Giants had compiled a 4-6-2 record, but the 1933 Giants, with Strong at fullback and Harry Newman at quarterback, improved to 11-3 and advanced to the 1933 NFL Championship Game. Strong led the NFL with 64 points in 1933; his points were scored on three rushing touchdowns, two receiving touchdowns, a touchdown on an interception return, five field goals, and 13 extra points. On November 26, 1933, he became the first known player in NFL history to score on a fair catch kick. The 30-yard kick was made at the Polo Grounds in a win against the Green Bay Packers. After the 1933 season, Strong received first-team All-Pro honors from the United Press, Collyer's Eye, and the Green Bay Press-Gazette.  In 1934, Strong again played in every game for the Giants as a fullback. He rushed for 431 yards and scored 56 points (six rushing touchdowns, four field goals, and eight extra points) in the regular season. His greatest fame derives from his role in the Giants' comeback victory over the Chicago Bears in the 1934 NFL Championship Game; Strong scored 17 points for the Giants on a 38-yard field goal, two fourth-quarter touchdowns on runs of 42 and 8 yards, and two extra points. Strong received first-team All-Pro honors in 1934 from the NFL and others.  In 1935, Strong helped lead the Giants to their third consecutive NFL Championship Game. In a 10-7 victory over the Brooklyn Dodgers, he was only able to play a few minutes due to injury, but he still managed to score all of the Giants' points on a 24-yard touchdown run and a 24-yard field goal. Slowed by injury in 1935, he was described as "a celebrated invalid" who "hobbled" from the bench to kick a field goal for the Giants in a 3-0 victory over the Bears on November 17. In the 1935 NFL Championship Game, a 26-7 loss to the Detroit Lions, Strong scored all of the Giants' points on a long touchdown catch and run and the extra point. CANNOTANSWER

Question: What were some of Ken Strong's other accomplishments other than leading the NFL with 64 points in 1933.
Answer: On November 26, 1933, he became the first known player in NFL history to score on a fair catch kick.
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: What year was Enrique Iglesias born?
Answer: CANNOTANSWER
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: Where did Enrique Iglesias grow up?
Answer: Madrid, Spain,
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: How long did Enrique Iglesias remain in Madrid, Spain?
Answer: 1981,