gaussalgo/Canard_Wiki-augmented huggingface dataset:
Don Bradman

Context: In 1930-31, against the first West Indian side to visit Australia, Bradman's scoring was more sedate than in England--although he did make 223 in 297 minutes in the Third Test at Brisbane and 152 in 154 minutes in the following Test at Melbourne. However, he scored quickly in a very successful sequence of innings against the South Africans in the Australian summer of 1931-32. For NSW against the tourists, he made 30, 135 and 219. In the Test matches, he scored 226 (277 minutes), 112 (155 minutes), 2 and 167 (183 minutes); his 299 not out in the Fourth Test, at Adelaide, set a new record for the highest score in a Test in Australia. Australia won nine of the ten Tests played over the two series.  At this point, Bradman had played 15 Test matches since the beginning of 1930, scoring 2,227 runs at an average of 131. He had played 18 innings, scoring 10 centuries, six of which had extended beyond 200. His overall scoring rate was 42 runs per hour, with 856 (or 38.5% of his tally) scored in boundaries. Significantly, he had not hit a six, which typified Bradman's attitude: if he hit the ball along the ground, then it could not be caught. During this phase of his career, his youth and natural fitness allowed him to adopt a "machine-like" approach to batting. The South African fast bowler Sandy Bell described bowling to him as, "heart-breaking ... with his sort of cynical grin, which rather reminds one of the Sphinx ... he never seems to perspire".  Between these two seasons, Bradman seriously contemplated playing professional cricket in England with the Lancashire League club Accrington, a move that, according to the rules of the day, would have ended his Test career. A consortium of three Sydney businesses offered an alternative. They devised a two-year contract whereby Bradman wrote for Associated Newspapers, broadcast on Radio 2UE and promoted the menswear retailing chain FJ Palmer and Son. However, the contract increased Bradman's dependence on his public profile, making it more difficult to maintain the privacy that he ardently desired.  Bradman's chaotic wedding to Jessie Menzies in April 1932 epitomised these new and unwelcome intrusions into his private life. The church "was under siege all throughout the day ... uninvited guests stood on chairs and pews to get a better view"; police erected barriers that were broken down and many of those invited could not get a seat. Just weeks later, Bradman joined a private team organised by Arthur Mailey to tour the United States and Canada. He travelled with his wife, and the couple treated the trip as a honeymoon. Playing 51 games in 75 days, Bradman scored 3,779 runs at 102.1, with 18 centuries. Although the standard of play was not high, the effects of the amount of cricket Bradman had played in the three previous years, together with the strains of his celebrity status, began to show on his return home. CANNOTANSWER

Question: Does Don Bradman have any help living?
Answer: He travelled with his wife, and the couple treated the trip as a honeymoon.
Don Bradman

Context: In 1930-31, against the first West Indian side to visit Australia, Bradman's scoring was more sedate than in England--although he did make 223 in 297 minutes in the Third Test at Brisbane and 152 in 154 minutes in the following Test at Melbourne. However, he scored quickly in a very successful sequence of innings against the South Africans in the Australian summer of 1931-32. For NSW against the tourists, he made 30, 135 and 219. In the Test matches, he scored 226 (277 minutes), 112 (155 minutes), 2 and 167 (183 minutes); his 299 not out in the Fourth Test, at Adelaide, set a new record for the highest score in a Test in Australia. Australia won nine of the ten Tests played over the two series.  At this point, Bradman had played 15 Test matches since the beginning of 1930, scoring 2,227 runs at an average of 131. He had played 18 innings, scoring 10 centuries, six of which had extended beyond 200. His overall scoring rate was 42 runs per hour, with 856 (or 38.5% of his tally) scored in boundaries. Significantly, he had not hit a six, which typified Bradman's attitude: if he hit the ball along the ground, then it could not be caught. During this phase of his career, his youth and natural fitness allowed him to adopt a "machine-like" approach to batting. The South African fast bowler Sandy Bell described bowling to him as, "heart-breaking ... with his sort of cynical grin, which rather reminds one of the Sphinx ... he never seems to perspire".  Between these two seasons, Bradman seriously contemplated playing professional cricket in England with the Lancashire League club Accrington, a move that, according to the rules of the day, would have ended his Test career. A consortium of three Sydney businesses offered an alternative. They devised a two-year contract whereby Bradman wrote for Associated Newspapers, broadcast on Radio 2UE and promoted the menswear retailing chain FJ Palmer and Son. However, the contract increased Bradman's dependence on his public profile, making it more difficult to maintain the privacy that he ardently desired.  Bradman's chaotic wedding to Jessie Menzies in April 1932 epitomised these new and unwelcome intrusions into his private life. The church "was under siege all throughout the day ... uninvited guests stood on chairs and pews to get a better view"; police erected barriers that were broken down and many of those invited could not get a seat. Just weeks later, Bradman joined a private team organised by Arthur Mailey to tour the United States and Canada. He travelled with his wife, and the couple treated the trip as a honeymoon. Playing 51 games in 75 days, Bradman scored 3,779 runs at 102.1, with 18 centuries. Although the standard of play was not high, the effects of the amount of cricket Bradman had played in the three previous years, together with the strains of his celebrity status, began to show on his return home. CANNOTANSWER

Question: Does Don Bradman undergo any surgery or in an hospital for a long time?
Answer: CANNOTANSWER
Don Bradman

Context: In 1930-31, against the first West Indian side to visit Australia, Bradman's scoring was more sedate than in England--although he did make 223 in 297 minutes in the Third Test at Brisbane and 152 in 154 minutes in the following Test at Melbourne. However, he scored quickly in a very successful sequence of innings against the South Africans in the Australian summer of 1931-32. For NSW against the tourists, he made 30, 135 and 219. In the Test matches, he scored 226 (277 minutes), 112 (155 minutes), 2 and 167 (183 minutes); his 299 not out in the Fourth Test, at Adelaide, set a new record for the highest score in a Test in Australia. Australia won nine of the ten Tests played over the two series.  At this point, Bradman had played 15 Test matches since the beginning of 1930, scoring 2,227 runs at an average of 131. He had played 18 innings, scoring 10 centuries, six of which had extended beyond 200. His overall scoring rate was 42 runs per hour, with 856 (or 38.5% of his tally) scored in boundaries. Significantly, he had not hit a six, which typified Bradman's attitude: if he hit the ball along the ground, then it could not be caught. During this phase of his career, his youth and natural fitness allowed him to adopt a "machine-like" approach to batting. The South African fast bowler Sandy Bell described bowling to him as, "heart-breaking ... with his sort of cynical grin, which rather reminds one of the Sphinx ... he never seems to perspire".  Between these two seasons, Bradman seriously contemplated playing professional cricket in England with the Lancashire League club Accrington, a move that, according to the rules of the day, would have ended his Test career. A consortium of three Sydney businesses offered an alternative. They devised a two-year contract whereby Bradman wrote for Associated Newspapers, broadcast on Radio 2UE and promoted the menswear retailing chain FJ Palmer and Son. However, the contract increased Bradman's dependence on his public profile, making it more difficult to maintain the privacy that he ardently desired.  Bradman's chaotic wedding to Jessie Menzies in April 1932 epitomised these new and unwelcome intrusions into his private life. The church "was under siege all throughout the day ... uninvited guests stood on chairs and pews to get a better view"; police erected barriers that were broken down and many of those invited could not get a seat. Just weeks later, Bradman joined a private team organised by Arthur Mailey to tour the United States and Canada. He travelled with his wife, and the couple treated the trip as a honeymoon. Playing 51 games in 75 days, Bradman scored 3,779 runs at 102.1, with 18 centuries. Although the standard of play was not high, the effects of the amount of cricket Bradman had played in the three previous years, together with the strains of his celebrity status, began to show on his return home. CANNOTANSWER

Question: What was Don Bradman's wife's name?
Answer: Jessie Menzies
Don Bradman

Context: In 1930-31, against the first West Indian side to visit Australia, Bradman's scoring was more sedate than in England--although he did make 223 in 297 minutes in the Third Test at Brisbane and 152 in 154 minutes in the following Test at Melbourne. However, he scored quickly in a very successful sequence of innings against the South Africans in the Australian summer of 1931-32. For NSW against the tourists, he made 30, 135 and 219. In the Test matches, he scored 226 (277 minutes), 112 (155 minutes), 2 and 167 (183 minutes); his 299 not out in the Fourth Test, at Adelaide, set a new record for the highest score in a Test in Australia. Australia won nine of the ten Tests played over the two series.  At this point, Bradman had played 15 Test matches since the beginning of 1930, scoring 2,227 runs at an average of 131. He had played 18 innings, scoring 10 centuries, six of which had extended beyond 200. His overall scoring rate was 42 runs per hour, with 856 (or 38.5% of his tally) scored in boundaries. Significantly, he had not hit a six, which typified Bradman's attitude: if he hit the ball along the ground, then it could not be caught. During this phase of his career, his youth and natural fitness allowed him to adopt a "machine-like" approach to batting. The South African fast bowler Sandy Bell described bowling to him as, "heart-breaking ... with his sort of cynical grin, which rather reminds one of the Sphinx ... he never seems to perspire".  Between these two seasons, Bradman seriously contemplated playing professional cricket in England with the Lancashire League club Accrington, a move that, according to the rules of the day, would have ended his Test career. A consortium of three Sydney businesses offered an alternative. They devised a two-year contract whereby Bradman wrote for Associated Newspapers, broadcast on Radio 2UE and promoted the menswear retailing chain FJ Palmer and Son. However, the contract increased Bradman's dependence on his public profile, making it more difficult to maintain the privacy that he ardently desired.  Bradman's chaotic wedding to Jessie Menzies in April 1932 epitomised these new and unwelcome intrusions into his private life. The church "was under siege all throughout the day ... uninvited guests stood on chairs and pews to get a better view"; police erected barriers that were broken down and many of those invited could not get a seat. Just weeks later, Bradman joined a private team organised by Arthur Mailey to tour the United States and Canada. He travelled with his wife, and the couple treated the trip as a honeymoon. Playing 51 games in 75 days, Bradman scored 3,779 runs at 102.1, with 18 centuries. Although the standard of play was not high, the effects of the amount of cricket Bradman had played in the three previous years, together with the strains of his celebrity status, began to show on his return home. CANNOTANSWER

Question: What was Jezzie Menzies' role in Don Bradman's life?
Answer: He travelled with his wife, and the couple treated the trip as a honeymoon.
Allen Toussaint

Context: In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.  The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007.  Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER

Question: What is the minit?
Answer: Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer.
Allen Toussaint

Context: In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.  The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007.  Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER

Question: what music did Allen Toussaint produce?
Answer: Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists
Allen Toussaint

Context: In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.  The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007.  Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER

Question: did Allen Toussaint produce an album?
Answer: The early to mid-1960s are regarded as Toussaint's most creatively successful period.
Allen Toussaint

Context: In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961.  The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007.  Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER

Question: what did Allen Toussaint do that was successful during the early to mid-1960s?
Answer: Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: What is a librettist?
Answer: librettists managed to produce a libretto
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: What is a libretto?
Answer: operas,
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: How was Jean-Philippe Rameau's relation with his librettists?
Answer: Rameau rarely worked with the same librettist twice.
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: Why didn't Jean-Philippe Rameau work with the same librettists twice?
Answer: He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists,
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: Were any exceptions noted in the article on Jean-Philippe Rameau and his librettists?
Answer: Louis de Cahusac,
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: Why was Louis de Cahusac an exception?
Answer: collaborated with him on several operas,
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: Were any of Louis de Cahusac and Jean-Philippe Rameau's collaborations listed in the article?
Answer: Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756),
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: What other librettists did Jean-Philippe Rameau work with in adition to Louis de Cahusac?
Answer: Voltaire
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: What did Jean-Philippe Rameau work on with Voltaire?
Answer: the Samson project
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: What was the Samson project?
Answer: came to nothing
Jean-Philippe Rameau

Context: Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760). CANNOTANSWER

Question: Why did the Samson project come to nothing?
Answer: because the librettists Rameau did work with were second-rate.
Ed Barrow

Context: Barrow returned to baseball in 1910, managing Montreal. The Eastern League hired Barrow as its president the next year, giving him an annual salary of $7,500 ($196,982 in current dollar terms). He served in this role from 1911 through 1917, and engineered the name change to "International League" before the 1912 season. As league president, he contended with the creation of the Federal League in 1914, which competed as a major league, and established franchises in International League cities, including Newark, New Jersey, Buffalo, New York, and Baltimore, Maryland. He attempted to gain major league status for the league in 1914, but was unsuccessful. When the Federal League collapsed, Barrow was the only league president to forbid the outlaw players from playing in his league.  After the 1917 season, Barrow attempted to organize the "Union League", to compete against the AL and NL as a third major league, by merging four International League clubs with four teams from the American Association. Several International League owners opposed Barrow's policies, including his attempt to form the Union League, and felt he was too close personally to Ban Johnson. When the league's owners voted to cut his pay to $2,500 after the 1917 season ($47,753 in current dollar terms), Barrow resigned.  Barrow became manager of the Boston Red Sox in 1918. As the team lost many of its better players during World War I, Barrow encouraged owner Harry Frazee to purchase Stuffy McInnis, Wally Schang, Bullet Joe Bush, and Amos Strunk from the Philadelphia Athletics for $75,000 ($1,220,243 in current dollar terms). During the season, Barrow feuded with his assistant, Johnny Evers, who undermined Barrow's leadership. The Red Sox won the 1918 World Series. Recognizing that star pitcher Babe Ruth was also a great power hitter, Barrow had Ruth pinch hit on days when he wasn't scheduled to pitch. When Ruth told Barrow that he could only pitch or hit, Barrow decided that Ruth's bat was more useful than his pitching, and transitioned him from a pitcher into an outfielder.  After the 1918 season, Frazee, now in debt, began selling the contracts of star players. He traded Dutch Leonard, Duffy Lewis, and Ernie Shore to the New York Yankees, obtaining Ray Caldwell, Slim Love, Frank Gilhooley, Roxy Walters, and cash. Frazee sold Carl Mays to the Yankees during the 1919 season. The Red Sox struggled in 1919, finishing sixth in the AL. Frazee sold Ruth to the Yankees after the season, against Barrow's warnings. The Red Sox finished in fifth in 1920. CANNOTANSWER

Question: What year did Ed Barrow return to baseball?
Answer: 1910,
Ed Barrow

Context: Barrow returned to baseball in 1910, managing Montreal. The Eastern League hired Barrow as its president the next year, giving him an annual salary of $7,500 ($196,982 in current dollar terms). He served in this role from 1911 through 1917, and engineered the name change to "International League" before the 1912 season. As league president, he contended with the creation of the Federal League in 1914, which competed as a major league, and established franchises in International League cities, including Newark, New Jersey, Buffalo, New York, and Baltimore, Maryland. He attempted to gain major league status for the league in 1914, but was unsuccessful. When the Federal League collapsed, Barrow was the only league president to forbid the outlaw players from playing in his league.  After the 1917 season, Barrow attempted to organize the "Union League", to compete against the AL and NL as a third major league, by merging four International League clubs with four teams from the American Association. Several International League owners opposed Barrow's policies, including his attempt to form the Union League, and felt he was too close personally to Ban Johnson. When the league's owners voted to cut his pay to $2,500 after the 1917 season ($47,753 in current dollar terms), Barrow resigned.  Barrow became manager of the Boston Red Sox in 1918. As the team lost many of its better players during World War I, Barrow encouraged owner Harry Frazee to purchase Stuffy McInnis, Wally Schang, Bullet Joe Bush, and Amos Strunk from the Philadelphia Athletics for $75,000 ($1,220,243 in current dollar terms). During the season, Barrow feuded with his assistant, Johnny Evers, who undermined Barrow's leadership. The Red Sox won the 1918 World Series. Recognizing that star pitcher Babe Ruth was also a great power hitter, Barrow had Ruth pinch hit on days when he wasn't scheduled to pitch. When Ruth told Barrow that he could only pitch or hit, Barrow decided that Ruth's bat was more useful than his pitching, and transitioned him from a pitcher into an outfielder.  After the 1918 season, Frazee, now in debt, began selling the contracts of star players. He traded Dutch Leonard, Duffy Lewis, and Ernie Shore to the New York Yankees, obtaining Ray Caldwell, Slim Love, Frank Gilhooley, Roxy Walters, and cash. Frazee sold Carl Mays to the Yankees during the 1919 season. The Red Sox struggled in 1919, finishing sixth in the AL. Frazee sold Ruth to the Yankees after the season, against Barrow's warnings. The Red Sox finished in fifth in 1920. CANNOTANSWER

Question: What had Ed Barrow been doing before he returned to baseball?
Answer: CANNOTANSWER
Ed Barrow

Context: Barrow returned to baseball in 1910, managing Montreal. The Eastern League hired Barrow as its president the next year, giving him an annual salary of $7,500 ($196,982 in current dollar terms). He served in this role from 1911 through 1917, and engineered the name change to "International League" before the 1912 season. As league president, he contended with the creation of the Federal League in 1914, which competed as a major league, and established franchises in International League cities, including Newark, New Jersey, Buffalo, New York, and Baltimore, Maryland. He attempted to gain major league status for the league in 1914, but was unsuccessful. When the Federal League collapsed, Barrow was the only league president to forbid the outlaw players from playing in his league.  After the 1917 season, Barrow attempted to organize the "Union League", to compete against the AL and NL as a third major league, by merging four International League clubs with four teams from the American Association. Several International League owners opposed Barrow's policies, including his attempt to form the Union League, and felt he was too close personally to Ban Johnson. When the league's owners voted to cut his pay to $2,500 after the 1917 season ($47,753 in current dollar terms), Barrow resigned.  Barrow became manager of the Boston Red Sox in 1918. As the team lost many of its better players during World War I, Barrow encouraged owner Harry Frazee to purchase Stuffy McInnis, Wally Schang, Bullet Joe Bush, and Amos Strunk from the Philadelphia Athletics for $75,000 ($1,220,243 in current dollar terms). During the season, Barrow feuded with his assistant, Johnny Evers, who undermined Barrow's leadership. The Red Sox won the 1918 World Series. Recognizing that star pitcher Babe Ruth was also a great power hitter, Barrow had Ruth pinch hit on days when he wasn't scheduled to pitch. When Ruth told Barrow that he could only pitch or hit, Barrow decided that Ruth's bat was more useful than his pitching, and transitioned him from a pitcher into an outfielder.  After the 1918 season, Frazee, now in debt, began selling the contracts of star players. He traded Dutch Leonard, Duffy Lewis, and Ernie Shore to the New York Yankees, obtaining Ray Caldwell, Slim Love, Frank Gilhooley, Roxy Walters, and cash. Frazee sold Carl Mays to the Yankees during the 1919 season. The Red Sox struggled in 1919, finishing sixth in the AL. Frazee sold Ruth to the Yankees after the season, against Barrow's warnings. The Red Sox finished in fifth in 1920. CANNOTANSWER

Question: What did Ed Barrow's return to baseball involve?
Answer: managing Montreal.