gaussalgo/Canard_Wiki-augmented huggingface dataset:
Steeleye Span

Context: In 1995, almost all the past and present members of the band reunited for a concert to celebrate the 25th Anniversary of the band (which would later be released as The Journey). The only former members not present were founding member Terry Woods, Mark Williamson, and Chris Staines.  A by-product of this gig was founding vocalist Gay Woods rejoining the band full-time, partly because Prior was experiencing vocal problems, and for a while Steeleye toured with two female singers, and released the album Time 1996, their first new studio album in seven years.  There were doubts over the future of the band when Prior announced her departure in 1997, but Steeleye continued in a more productive vein than for many years, with Woods as lead singer, releasing Horkstow Grange (1998), and then Bedlam Born (2000). Fans of Steeleye's "rock" element felt that Horkstow Grange was too quiet and folk-oriented, while fans of the band's "folk" element complained that Bedlam Born was too rock-heavy. Woods received considerable criticism from fans, many of whom did not realise that she was one of the founding members and who compared her singing style unfavourably to Prior's. There was also disagreement among the band about what material to perform; Woods advocated performing old favourites such as "All Around My Hat" and "Alison Gross", while Johnson favoured a set that emphasised their newer material.  Liam Genockey had also left the band in 1997, and on these albums the drum kit was manned by Dave Mattacks, who was not an official member of the band. CANNOTANSWER

Question: Did the albums by Maddy do well?
Answer: Woods received considerable criticism from fans,
Mae Jemison

Context: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest. She was pulled over by Nassau Bay, Texas officer Henry Hughes for allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison for a speeding ticket. In the process of arresting her, the officer twisted her wrist and forced her to the ground. In her complaint, Jemison said the officer physically and emotionally mistreated her. Jemison's attorney said she believed she'd already paid the speeding ticket years ago. She spent several hours in jail and was treated at an area hospital after release for deep bruises and a head injury. Jemison said in a televised interview that the incident has altered her feelings about police there. "I always felt safe and comfortable [around the police]. I don't feel that way anymore at Nassau Bay and that's a shame," she said. Jemison filed a lawsuit against the city of Nassau Bay and officer Hughes.  In 2007, diagnostic test provider Gen-Probe Inc. announced that they would not accept the resignation of Jemison from their board of directors. Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting. The company said it believed that Jemison's failed re-election was the result of a recommendation by advisory firm Institutional Shareholder Services that shareholders vote against her due to her poor attendance at board meetings. Gen-Probe determined that Jemison's two absences in 2006 were for valid reasons and said Jemison had attended all regular and special board and committee meetings since September.  In 2017, a "Women of NASA" LEGO set went on sale featuring (among other things) mini-figurines of Jemison, Margaret Hamilton, Sally Ride, and Nancy Grace Roman. CANNOTANSWER

Question: Did Mae Jemison encounter any hardships?
Answer: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest.
Mae Jemison

Context: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest. She was pulled over by Nassau Bay, Texas officer Henry Hughes for allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison for a speeding ticket. In the process of arresting her, the officer twisted her wrist and forced her to the ground. In her complaint, Jemison said the officer physically and emotionally mistreated her. Jemison's attorney said she believed she'd already paid the speeding ticket years ago. She spent several hours in jail and was treated at an area hospital after release for deep bruises and a head injury. Jemison said in a televised interview that the incident has altered her feelings about police there. "I always felt safe and comfortable [around the police]. I don't feel that way anymore at Nassau Bay and that's a shame," she said. Jemison filed a lawsuit against the city of Nassau Bay and officer Hughes.  In 2007, diagnostic test provider Gen-Probe Inc. announced that they would not accept the resignation of Jemison from their board of directors. Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting. The company said it believed that Jemison's failed re-election was the result of a recommendation by advisory firm Institutional Shareholder Services that shareholders vote against her due to her poor attendance at board meetings. Gen-Probe determined that Jemison's two absences in 2006 were for valid reasons and said Jemison had attended all regular and special board and committee meetings since September.  In 2017, a "Women of NASA" LEGO set went on sale featuring (among other things) mini-figurines of Jemison, Margaret Hamilton, Sally Ride, and Nancy Grace Roman. CANNOTANSWER

Question: What was the outcome of Jemison's complaint?
Answer: CANNOTANSWER
Mae Jemison

Context: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest. She was pulled over by Nassau Bay, Texas officer Henry Hughes for allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison for a speeding ticket. In the process of arresting her, the officer twisted her wrist and forced her to the ground. In her complaint, Jemison said the officer physically and emotionally mistreated her. Jemison's attorney said she believed she'd already paid the speeding ticket years ago. She spent several hours in jail and was treated at an area hospital after release for deep bruises and a head injury. Jemison said in a televised interview that the incident has altered her feelings about police there. "I always felt safe and comfortable [around the police]. I don't feel that way anymore at Nassau Bay and that's a shame," she said. Jemison filed a lawsuit against the city of Nassau Bay and officer Hughes.  In 2007, diagnostic test provider Gen-Probe Inc. announced that they would not accept the resignation of Jemison from their board of directors. Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting. The company said it believed that Jemison's failed re-election was the result of a recommendation by advisory firm Institutional Shareholder Services that shareholders vote against her due to her poor attendance at board meetings. Gen-Probe determined that Jemison's two absences in 2006 were for valid reasons and said Jemison had attended all regular and special board and committee meetings since September.  In 2017, a "Women of NASA" LEGO set went on sale featuring (among other things) mini-figurines of Jemison, Margaret Hamilton, Sally Ride, and Nancy Grace Roman. CANNOTANSWER

Question: What did Mae Jemison think was the reasoning behind the traffic stop?
Answer: allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison
Mae Jemison

Context: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest. She was pulled over by Nassau Bay, Texas officer Henry Hughes for allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison for a speeding ticket. In the process of arresting her, the officer twisted her wrist and forced her to the ground. In her complaint, Jemison said the officer physically and emotionally mistreated her. Jemison's attorney said she believed she'd already paid the speeding ticket years ago. She spent several hours in jail and was treated at an area hospital after release for deep bruises and a head injury. Jemison said in a televised interview that the incident has altered her feelings about police there. "I always felt safe and comfortable [around the police]. I don't feel that way anymore at Nassau Bay and that's a shame," she said. Jemison filed a lawsuit against the city of Nassau Bay and officer Hughes.  In 2007, diagnostic test provider Gen-Probe Inc. announced that they would not accept the resignation of Jemison from their board of directors. Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting. The company said it believed that Jemison's failed re-election was the result of a recommendation by advisory firm Institutional Shareholder Services that shareholders vote against her due to her poor attendance at board meetings. Gen-Probe determined that Jemison's two absences in 2006 were for valid reasons and said Jemison had attended all regular and special board and committee meetings since September.  In 2017, a "Women of NASA" LEGO set went on sale featuring (among other things) mini-figurines of Jemison, Margaret Hamilton, Sally Ride, and Nancy Grace Roman. CANNOTANSWER

Question: Why did Mae Jemison think she was actually illegally pulled and arrested Hughes?
Answer: CANNOTANSWER
Mae Jemison

Context: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest. She was pulled over by Nassau Bay, Texas officer Henry Hughes for allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison for a speeding ticket. In the process of arresting her, the officer twisted her wrist and forced her to the ground. In her complaint, Jemison said the officer physically and emotionally mistreated her. Jemison's attorney said she believed she'd already paid the speeding ticket years ago. She spent several hours in jail and was treated at an area hospital after release for deep bruises and a head injury. Jemison said in a televised interview that the incident has altered her feelings about police there. "I always felt safe and comfortable [around the police]. I don't feel that way anymore at Nassau Bay and that's a shame," she said. Jemison filed a lawsuit against the city of Nassau Bay and officer Hughes.  In 2007, diagnostic test provider Gen-Probe Inc. announced that they would not accept the resignation of Jemison from their board of directors. Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting. The company said it believed that Jemison's failed re-election was the result of a recommendation by advisory firm Institutional Shareholder Services that shareholders vote against her due to her poor attendance at board meetings. Gen-Probe determined that Jemison's two absences in 2006 were for valid reasons and said Jemison had attended all regular and special board and committee meetings since September.  In 2017, a "Women of NASA" LEGO set went on sale featuring (among other things) mini-figurines of Jemison, Margaret Hamilton, Sally Ride, and Nancy Grace Roman. CANNOTANSWER

Question: Besides the police brutality during a traffic stop, Did Mae Jemison have any other hardships?
Answer: Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting.
Mae Jemison

Context: In the spring of 1996, Jemison filed a complaint against a Texas police officer, accusing him of police brutality during a traffic stop that ended in her arrest. She was pulled over by Nassau Bay, Texas officer Henry Hughes for allegedly making an illegal U-turn and arrested after Hughes learned of an outstanding warrant on Jemison for a speeding ticket. In the process of arresting her, the officer twisted her wrist and forced her to the ground. In her complaint, Jemison said the officer physically and emotionally mistreated her. Jemison's attorney said she believed she'd already paid the speeding ticket years ago. She spent several hours in jail and was treated at an area hospital after release for deep bruises and a head injury. Jemison said in a televised interview that the incident has altered her feelings about police there. "I always felt safe and comfortable [around the police]. I don't feel that way anymore at Nassau Bay and that's a shame," she said. Jemison filed a lawsuit against the city of Nassau Bay and officer Hughes.  In 2007, diagnostic test provider Gen-Probe Inc. announced that they would not accept the resignation of Jemison from their board of directors. Jemison had failed to be re-elected to the board in a vote of the shareholders of the company at the company's May 31 annual stockholders meeting. The company said it believed that Jemison's failed re-election was the result of a recommendation by advisory firm Institutional Shareholder Services that shareholders vote against her due to her poor attendance at board meetings. Gen-Probe determined that Jemison's two absences in 2006 were for valid reasons and said Jemison had attended all regular and special board and committee meetings since September.  In 2017, a "Women of NASA" LEGO set went on sale featuring (among other things) mini-figurines of Jemison, Margaret Hamilton, Sally Ride, and Nancy Grace Roman. CANNOTANSWER

Question: Who was elected in place of Jemison instead?
Answer: CANNOTANSWER
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: What was Ai (singer) major product endorsement ?
Answer: Ai has worked on four major Coca-Cola TV commercial campaigns,
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: did Ai (singer) have any big moves in his carrer
Answer: Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon,
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: did Ai (singer) only do song work?
Answer: Ai has featured as a spokesperson, or has her music featured, for many products.
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: Other than the endorsements, did Ai (singer) ever sing with anyone else?
Answer: two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)).
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: Other than during Products and endorsements, who else did Ai (singer) do a calabo with in music?
Answer: CANNOTANSWER
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: what did Ai (singer) endorse for?
Answer: ", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."
Ai (singer)

Context: As is standard for Japanese musicians, Ai has featured as a spokesperson, or has her music featured, for many products. Ai's songs have been used as TV commercial songs, drama theme songs, film theme songs and TV show ending theme songs.  Ai has worked on four major Coca-Cola TV commercial campaigns, two featuring her own songs ("You Are My Star" (2009), "Happiness" (2011)) and two featuring collaborations (K'naan's "Wavin' Flag" (2009), Namie Amuro's "Wonder Woman" (2011)). She has also been featured in two Audio-Technica campaigns (using "My Friend (Live Version)" and "I'll Remember You", a campaign for Japan Airlines ("Brand New Day") and Pepsi Nex with "I Wanna Know."  Ai's most high-profile work for a TV drama was the theme song for 2006's primetime drama Team Medical Dragon, "Believe", which was one of her greatest hits, selling over one million ringtones. Ai also sung the theme song for the drama's second series, "One." Ai also worked on the theme song for the 2010 primetime drama Keishicho Keizoku Sosahan, "Nemurenai Machi." Other program theme songs include the Japanese theme song for the American drama Heroes ("Taisetsu na Mono"), and the 15th ending theme for the children's animation Crayon Shin-chan, "Crayon Beats"). In 2005, Ai's song "Alive (English Version)" was used as an insert song for the South Korean drama Delightful Girl Choon-Hyang.  Many of Ai's songs have been used in films. Her "Story" song was remade (also with its English version) for Disney`s box office Big Hero 6 in 2014. She performed the theme song for Departures (2008), the winner of the Academy Award for Best Foreign Language Film in 2009. She has also sung the theme songs for Crayon Shin-chan: The Legend Called Buri Buri 3 Minutes Charge (2005), Pray (2005), Lalapipo (2009) and Berserk Golden Age Arc I: The Egg of the High King (2012). Her music has been featured on the soundtracks of TKO Hiphop (2005), the musical film Memories of Matsuko (2006), in which Ai cameoed to perform the song, and Heat Island (2007). CANNOTANSWER

Question: did Ai (singer) live in the us?
Answer: CANNOTANSWER
Rosa Ponselle

Context: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata.  In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.  Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.  In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. CANNOTANSWER

Question: Has Rosa Ponselle ever performed overseas?
Answer: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy
Rosa Ponselle

Context: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata.  In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.  Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.  In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. CANNOTANSWER

Question: What year did Rosa Ponselle begin to perform in London?
Answer: In 1929, Ponselle made her European debut in London,
Rosa Ponselle

Context: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata.  In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.  Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.  In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. CANNOTANSWER

Question: When did Rosa Ponselle finish her career?
Answer: on April 22, 1937,
Rosa Ponselle

Context: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata.  In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.  Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.  In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. CANNOTANSWER

Question: What did Rosa Ponselle perform later in her career?
Answer: Norma, L'amore dei tre re, and La traviata (her first performances as Violetta).
Rosa Ponselle

Context: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata.  In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.  Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.  In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. CANNOTANSWER

Question: What did people think of Rosa Ponselle's performance of La Traviata?
Answer: CANNOTANSWER
Rosa Ponselle

Context: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata.  In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.  Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.  In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. CANNOTANSWER

Question: Were recordings ever released of Rosa Ponselle's performances?
Answer: she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them.