gaussalgo/Canard_Wiki-augmented huggingface dataset:
Chuck Schuldiner

Context: Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida.  Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens.  Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush.  Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER

Question: Why did Chuck Schuldiner choose to play guitar?
Answer: his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief.
Chuck Schuldiner

Context: Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida.  Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens.  Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush.  Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER

Question: Did Chuck Schuldiner go to music school?
Answer: After getting amps, he never stopped playing, writing and teaching himself.
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: what is talland house?
Answer: a large white house in St. Ives, Cornwall,
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: what happened at talland house?
Answer: it was the highlight of the year, and Virginia's most vivid childhood memories
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: did anything tragic happen at talland house?
Answer: CANNOTANSWER
Virginia Woolf

Context: Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail:  In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895.  For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER

Question: what else happened at talland house besides Virginia Woolf's most vivid childhood memories?
Answer: Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: What is Fred Rogers most known for?
Answer: Rogers was involved in supporting the manufacturers of VCRs in court.
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: How did Fred Rogers support the manufacturers of VCRs in court?
Answer: His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs,
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: What was the outcome of the case involving Sony Corp. of America v. Universal City Studios, Inc.?
Answer: When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright.
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: What is Fred Rogers doing now?
Answer: CANNOTANSWER
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: Other than the case between Sony Corp. of America v. Universal City Studios, Inc., is there anything else interesting?
Answer: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: What else is Fred Rogers known for besides his participation in the Sony Corp. of America v. Universal City Studios, Inc case?
Answer: the Neighborhood
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: Is Fred Rogers still alive?
Answer: CANNOTANSWER
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: Are there any other interesting aspects about John Cage other than his centenary commemoration?
Answer: A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: How was the 2012 project by Juraj Kojs to celebrate the centenary of John Cage's birth put forth?
Answer: It consisted of 13 commissioned works created by composers from around the global
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: Who were some of the contributors to the centenary of John Cage's birth?
Answer: The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: How much did the celebration centenary of John Cage's birth cost?
Answer: CANNOTANSWER
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: How long did the celebration centenary of John Cage's birth take to put together?
Answer: each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''.
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: Who else contributed or sponsored the celebration centenary of John Cage's birth besides Juraj Kojs?
Answer: works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega,
John Cage

Context: In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth.  A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.  In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER

Question: When was the debut of the celebration centenary of John Cage's birth?
Answer: 2012
Francis Bourke

Context: Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season.  The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points.  During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER

Question: Where did Francis Bourke coach?
Answer: Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.
Francis Bourke

Context: Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season.  The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points.  During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER

Question: How did the team at Punt Road play under Francis Bourke?
Answer: 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.