gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jesus Is Just Alright

Context: The Byrds' version of "Jesus Is Just Alright" was recorded on June 17, 1969 during the sessions for the band's eighth studio album, Ballad of Easy Rider. It was first released as part of that album but was subsequently issued as a single on December 15, 1969. The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom. Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.  The song was introduced to The Byrds by the band's drummer, Gene Parsons, who had been present in the studio when The Art Reynolds Singers had recorded it. The Byrds had added the song to their live concert repertoire some months prior to the start of the Ballad of Easy Rider recording sessions and it had quickly become an audience favorite. In concert, The Byrds rendition of "Jesus Is Just Alright" began with a wordless vocal introduction that built up and led into the first iteration of the song's chorus. This distinctive vocal arrangement had been devised by Parsons but once the band were in the studio, record producer Terry Melcher dispensed with this extended intro, choosing instead to give the song a more pop-oriented arrangement.  "Jesus Is Just Alright" became a staple of The Byrds' concert repertoire between 1969 and 1971 but appears to have been performed only rarely after that. Additionally, the band performed the song on the U.S. television programs Memphis Talent Party and The Midnight Special in 1970 and 1972 respectively.  Besides its appearance on the Ballad of Easy Rider album, "Jesus Is Just Alright" can also be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Byrds, The Essential Byrds, and There Is a Season. Live recordings of the song are included on the expanded edition of The Byrds' (Untitled) album as well as on Live at Royal Albert Hall 1971. CANNOTANSWER

Question: Was "Jesus Is Just Alright"popular?
Answer: The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom.
Jesus Is Just Alright

Context: The Byrds' version of "Jesus Is Just Alright" was recorded on June 17, 1969 during the sessions for the band's eighth studio album, Ballad of Easy Rider. It was first released as part of that album but was subsequently issued as a single on December 15, 1969. The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom. Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.  The song was introduced to The Byrds by the band's drummer, Gene Parsons, who had been present in the studio when The Art Reynolds Singers had recorded it. The Byrds had added the song to their live concert repertoire some months prior to the start of the Ballad of Easy Rider recording sessions and it had quickly become an audience favorite. In concert, The Byrds rendition of "Jesus Is Just Alright" began with a wordless vocal introduction that built up and led into the first iteration of the song's chorus. This distinctive vocal arrangement had been devised by Parsons but once the band were in the studio, record producer Terry Melcher dispensed with this extended intro, choosing instead to give the song a more pop-oriented arrangement.  "Jesus Is Just Alright" became a staple of The Byrds' concert repertoire between 1969 and 1971 but appears to have been performed only rarely after that. Additionally, the band performed the song on the U.S. television programs Memphis Talent Party and The Midnight Special in 1970 and 1972 respectively.  Besides its appearance on the Ballad of Easy Rider album, "Jesus Is Just Alright" can also be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Byrds, The Essential Byrds, and There Is a Season. Live recordings of the song are included on the expanded edition of The Byrds' (Untitled) album as well as on Live at Royal Albert Hall 1971. CANNOTANSWER

Question: What did critics say about The Burds' version of "Jesus Is Just Alright"?
Answer: " became a staple of The Byrds' concert repertoire between 1969 and 1971
Jesus Is Just Alright

Context: The Byrds' version of "Jesus Is Just Alright" was recorded on June 17, 1969 during the sessions for the band's eighth studio album, Ballad of Easy Rider. It was first released as part of that album but was subsequently issued as a single on December 15, 1969. The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom. Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.  The song was introduced to The Byrds by the band's drummer, Gene Parsons, who had been present in the studio when The Art Reynolds Singers had recorded it. The Byrds had added the song to their live concert repertoire some months prior to the start of the Ballad of Easy Rider recording sessions and it had quickly become an audience favorite. In concert, The Byrds rendition of "Jesus Is Just Alright" began with a wordless vocal introduction that built up and led into the first iteration of the song's chorus. This distinctive vocal arrangement had been devised by Parsons but once the band were in the studio, record producer Terry Melcher dispensed with this extended intro, choosing instead to give the song a more pop-oriented arrangement.  "Jesus Is Just Alright" became a staple of The Byrds' concert repertoire between 1969 and 1971 but appears to have been performed only rarely after that. Additionally, the band performed the song on the U.S. television programs Memphis Talent Party and The Midnight Special in 1970 and 1972 respectively.  Besides its appearance on the Ballad of Easy Rider album, "Jesus Is Just Alright" can also be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Byrds, The Essential Byrds, and There Is a Season. Live recordings of the song are included on the expanded edition of The Byrds' (Untitled) album as well as on Live at Royal Albert Hall 1971. CANNOTANSWER

Question: Did audiences like "Jesus Is Just Alright"?
Answer: CANNOTANSWER
Jesus Is Just Alright

Context: The Byrds' version of "Jesus Is Just Alright" was recorded on June 17, 1969 during the sessions for the band's eighth studio album, Ballad of Easy Rider. It was first released as part of that album but was subsequently issued as a single on December 15, 1969. The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom. Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.  The song was introduced to The Byrds by the band's drummer, Gene Parsons, who had been present in the studio when The Art Reynolds Singers had recorded it. The Byrds had added the song to their live concert repertoire some months prior to the start of the Ballad of Easy Rider recording sessions and it had quickly become an audience favorite. In concert, The Byrds rendition of "Jesus Is Just Alright" began with a wordless vocal introduction that built up and led into the first iteration of the song's chorus. This distinctive vocal arrangement had been devised by Parsons but once the band were in the studio, record producer Terry Melcher dispensed with this extended intro, choosing instead to give the song a more pop-oriented arrangement.  "Jesus Is Just Alright" became a staple of The Byrds' concert repertoire between 1969 and 1971 but appears to have been performed only rarely after that. Additionally, the band performed the song on the U.S. television programs Memphis Talent Party and The Midnight Special in 1970 and 1972 respectively.  Besides its appearance on the Ballad of Easy Rider album, "Jesus Is Just Alright" can also be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Byrds, The Essential Byrds, and There Is a Season. Live recordings of the song are included on the expanded edition of The Byrds' (Untitled) album as well as on Live at Royal Albert Hall 1971. CANNOTANSWER

Question: Was the Byrds version of "Jesus Is Just Alright" different than the original?
Answer: CANNOTANSWER
Jesus Is Just Alright

Context: The Byrds' version of "Jesus Is Just Alright" was recorded on June 17, 1969 during the sessions for the band's eighth studio album, Ballad of Easy Rider. It was first released as part of that album but was subsequently issued as a single on December 15, 1969. The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom. Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.  The song was introduced to The Byrds by the band's drummer, Gene Parsons, who had been present in the studio when The Art Reynolds Singers had recorded it. The Byrds had added the song to their live concert repertoire some months prior to the start of the Ballad of Easy Rider recording sessions and it had quickly become an audience favorite. In concert, The Byrds rendition of "Jesus Is Just Alright" began with a wordless vocal introduction that built up and led into the first iteration of the song's chorus. This distinctive vocal arrangement had been devised by Parsons but once the band were in the studio, record producer Terry Melcher dispensed with this extended intro, choosing instead to give the song a more pop-oriented arrangement.  "Jesus Is Just Alright" became a staple of The Byrds' concert repertoire between 1969 and 1971 but appears to have been performed only rarely after that. Additionally, the band performed the song on the U.S. television programs Memphis Talent Party and The Midnight Special in 1970 and 1972 respectively.  Besides its appearance on the Ballad of Easy Rider album, "Jesus Is Just Alright" can also be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Byrds, The Essential Byrds, and There Is a Season. Live recordings of the song are included on the expanded edition of The Byrds' (Untitled) album as well as on Live at Royal Albert Hall 1971. CANNOTANSWER

Question: What else was notable about the Byrds' version of "Jesus Is Just Alright" besides becoming a staple of The Byrds' concert repertoire between 1969 and 1971?
Answer: Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.
Jesus Is Just Alright

Context: The Byrds' version of "Jesus Is Just Alright" was recorded on June 17, 1969 during the sessions for the band's eighth studio album, Ballad of Easy Rider. It was first released as part of that album but was subsequently issued as a single on December 15, 1969. The single stalled at No. 97 on the Billboard Hot 100 and failed to chart in the United Kingdom. Despite this lack of commercial success, The Doobie Brothers' later hit version of the song featured an arrangement that was heavily influenced by The Byrds' own recording.  The song was introduced to The Byrds by the band's drummer, Gene Parsons, who had been present in the studio when The Art Reynolds Singers had recorded it. The Byrds had added the song to their live concert repertoire some months prior to the start of the Ballad of Easy Rider recording sessions and it had quickly become an audience favorite. In concert, The Byrds rendition of "Jesus Is Just Alright" began with a wordless vocal introduction that built up and led into the first iteration of the song's chorus. This distinctive vocal arrangement had been devised by Parsons but once the band were in the studio, record producer Terry Melcher dispensed with this extended intro, choosing instead to give the song a more pop-oriented arrangement.  "Jesus Is Just Alright" became a staple of The Byrds' concert repertoire between 1969 and 1971 but appears to have been performed only rarely after that. Additionally, the band performed the song on the U.S. television programs Memphis Talent Party and The Midnight Special in 1970 and 1972 respectively.  Besides its appearance on the Ballad of Easy Rider album, "Jesus Is Just Alright" can also be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Byrds, The Essential Byrds, and There Is a Season. Live recordings of the song are included on the expanded edition of The Byrds' (Untitled) album as well as on Live at Royal Albert Hall 1971. CANNOTANSWER

Question: Was The Doobie Brothers' version of "Jesus Is Just Alright" successful?
Answer: CANNOTANSWER
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: What was Buddy Hackett's first job?
Answer: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club.
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Besides Hackett's employment at the Pink Elephant, are there any other interesting aspects about Buddy Hackett, Early career?
Answer: Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins.
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Was Hackett's film World of Sports well received?
Answer: Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention.
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: What caused Buddy Hackett's come back to film?
Answer: The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953),
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Did Buddy Hackett have any flops in his career?
Answer: CANNOTANSWER
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Besides Walking My Baby Back Home, did Buddy Hackett have any other castings?
Answer: He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961.
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Besides The Perry Como Show, did Buddy Hackett appear on any other shows?
Answer: Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: What type of shows did Hackett appear on during the 1950s and 1960s?
Answer: Jack Paar and the Johnny Carson
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Did Buddy Hackett appear on Jack Paar and the Johnny Carson frequently?
Answer: a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes,
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Besides appear on several TV shows and releasing Walking My Baby Back Home, Was there anything else notable about Jack Paar and the Johnny Carson?
Answer: he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt.
Buddy Hackett

Context: Hackett's first job after the war was at the Pink Elephant, a Brooklyn club. It was here that he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.  Hackett's movie career began in 1950 with a 10-minute "World of Sports" reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett's "The Chinese Waiter" lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: "No, we no have sprit-pea soup ... We gotta wonton, we got eh-roll ... No orda for her, juss orda for you!" The routine was such a hit that Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O'Connor and Janet Leigh.  Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O'Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.  Hackett became known to a wider audience when he appeared on television in the 1950s and '60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson. During this time, he also appeared as a panelist and mystery guest on CBS-TV's What's My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV's The Perry Como Show between 1955 and 1961. CANNOTANSWER

Question: Besides The Perry Como Show and What's My Line, did Buddy Hackett appear on any other TV shows?
Answer: CANNOTANSWER
Stephen E. Ambrose

Context: In 2002, Ambrose was accused of plagiarizing several passages in his book The Wild Blue. Fred Barnes reported in The Weekly Standard that Ambrose had taken passages from Wings of Morning: The Story of the Last American Bomber Shot Down over Germany in World War II, by Thomas Childers, a history professor at the University of Pennsylvania. Ambrose had footnoted sources, but had not enclosed in quotation marks numerous passages from Childers's book.  Ambrose asserted that only a few sentences in all his numerous books were the work of other authors. He offered this defense:  I tell stories. I don't discuss my documents. I discuss the story. It almost gets to the point where, how much is the reader going to take? I am not writing a Ph.D. dissertation.  I wish I had put the quotation marks in, but I didn't. I am not out there stealing other people's writings. If I am writing up a passage and it is a story I want to tell and this story fits and a part of it is from other people's writing, I just type it up that way and put it in a footnote. I just want to know where the hell it came from.  A Forbes investigation of his work found cases of plagiarism involving passages in at least six books, with a similar pattern going all the way back to his doctoral dissertation. The History News Network lists seven of Ambrose's more than 40 works--The Wild Blue, Undaunted Courage, Nothing Like It In the World, Nixon: Ruin and Recovery, Citizen Soldiers, The Supreme Commander, and Crazy Horse and Custer--contained content from twelve authors without appropriate attribution from Ambrose. CANNOTANSWER

Question: What did Stephen E. Ambrose plagiarize?
Answer: In 2002, Ambrose was accused of plagiarizing several passages in his book The Wild Blue.
Stephen E. Ambrose

Context: In 2002, Ambrose was accused of plagiarizing several passages in his book The Wild Blue. Fred Barnes reported in The Weekly Standard that Ambrose had taken passages from Wings of Morning: The Story of the Last American Bomber Shot Down over Germany in World War II, by Thomas Childers, a history professor at the University of Pennsylvania. Ambrose had footnoted sources, but had not enclosed in quotation marks numerous passages from Childers's book.  Ambrose asserted that only a few sentences in all his numerous books were the work of other authors. He offered this defense:  I tell stories. I don't discuss my documents. I discuss the story. It almost gets to the point where, how much is the reader going to take? I am not writing a Ph.D. dissertation.  I wish I had put the quotation marks in, but I didn't. I am not out there stealing other people's writings. If I am writing up a passage and it is a story I want to tell and this story fits and a part of it is from other people's writing, I just type it up that way and put it in a footnote. I just want to know where the hell it came from.  A Forbes investigation of his work found cases of plagiarism involving passages in at least six books, with a similar pattern going all the way back to his doctoral dissertation. The History News Network lists seven of Ambrose's more than 40 works--The Wild Blue, Undaunted Courage, Nothing Like It In the World, Nixon: Ruin and Recovery, Citizen Soldiers, The Supreme Commander, and Crazy Horse and Custer--contained content from twelve authors without appropriate attribution from Ambrose. CANNOTANSWER

Question: Did Stephen E. Ambrose admit to plagiarizing?
Answer: I wish I had put the quotation marks in, but I didn't. I am not out there stealing other people's writings.