gaussalgo/Canard_Wiki-augmented huggingface dataset:
Thomas Eakins

Context: Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.  Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.  At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.  It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER

Question: What were some of the titles of domestic Victorian interiors?
Answer: Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),
Thomas Eakins

Context: Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.  Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.  At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.  It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER

Question: What did the critics think of Eakins early works?
Answer: Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
Thomas Eakins

Context: Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.  Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.  At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.  It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER

Question: Was Eakins married?
Answer: In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Thomas Eakins

Context: Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.  Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.  At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.  It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER

Question: Did Eakins do any artwork with Cromwell as the subject?
Answer: Elizabeth Crowell and her Dog (1874),
Thomas Eakins

Context: Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.  Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.  At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.  It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER

Question: Are there any other interesting aspects about this article other than Elizabeth Crowell and her Dog?
Answer: in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten.
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: When did Barclay start the music video career?
Answer: Following his graduation from Harvard, he worked as a copywriter and creative supervisor
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: How well did Paris Barclay's music video career do initially?
Answer: Most notably, he created eight videos for LL Cool J,
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Who else did Paris Barclay create videos for besides LL Cool J?
Answer: House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Where all of Paris Barclay's music videos related to movies?
Answer: In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Why did Paris Barclay take such a long break?
Answer: CANNOTANSWER
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Are there any other interesting aspects about this article besides Paris Barclay taking a long break?
Answer: Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash,
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Any other episodes that payed respect to Barclay besides "The Coup"?
Answer: TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Did Paris Barclay do more broadway besides "Touch Me"?
Answer: CANNOTANSWER
Paris Barclay

Context: Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.  In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".  Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER

Question: Did any of Paris Barclay's videos get awards?
Answer: won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: When was Wes Hall born?
Answer: CANNOTANSWER
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: Where was Wes Hall born?
Answer: in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: DId Wes Hall play sports as a youth?
Answer: At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: Who were Wes Hall teammates on the cricket team?
Answer: One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: Where did Wes Hall attend school?
Answer: Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship.
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: Was Wes Hall a good cricket player?
Answer: His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956.
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: Did any cricket team sign Wes Hall?
Answer: Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957.
Wes Hall

Context: Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.  After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".  Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER

Question: Did Wes Hall have a job?
Answer: After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team
Walter Payton

Context: Throughout his life, Payton had claimed his date of birth as July 25, 1954, a date which is cited in many of his early biographies. However, while researching his biography of Payton, Sports Illustrated's Jeff Pearlman discovered his actual date of birth to be July 25, 1953. Pearlman found Payton's earliest use of the later date during his pursuit of the Heisman Trophy at Jackson State.  Payton married Connie Norwood in 1976. During his rookie year, he resided in a home on the north side of Arlington Heights, Illinois. The couple had two children, Jarrett Payton (born 1980) and Brittney (born December 26, 1985) and resided in South Barrington, Illinois.  A 2011 biography by Pearlman describes a tumultuous personal life very different from his positive public image. According to Pearlman's biography, Payton was a consistent adulterer, and a multiple drug user. His drug use began with painkillers provided to him by the Bears to cope with the punishment he absorbed during games, and continued after his football career ended. Payton did not cope well with life after his career, especially with issues of boredom and loneliness. His wife and family contend that the book is filled with factual misstatements, and paints too bleak a picture of his life. However, many reviewers of Pearlman's work have found it to have been "exhaustively" researched and documented by hundreds of interviews. The ghostwriter for Payton's autobiography called the book "an incredible, thoughtful, deep and profound read. It's exceptional work."  Payton was inducted as a laureate of The Lincoln Academy of Illinois and awarded the Order of Lincoln (the state's highest honor) by the governor of Illinois in 1987 in the area of sports. CANNOTANSWER

Question: When was Walter Payton born?
Answer: Payton had claimed his date of birth as July 25, 1954, a date which is cited in many of his early biographies.