gaussalgo/Canard_Wiki-augmented huggingface dataset:
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: What happened after Styles lost to Rave in 2005?
Answer: Rave and The Embassy, Styles formed an alliance with Generation Next,
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Are there any other interesting aspects about the article besides Styles fued with Rave and their matches?
Answer: Following his feud with The Embassy, Styles set his sights on winning a championship.
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: What happened with Atlantic Records in 1990?
Answer: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request,
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: Why did Neal McCoy have to change his surname?
Answer: McCoy per the label's request, as fans had already begun to refer to him as McCoy.
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: What was one of the things Neal McCoy first produced when he signed with Atlantic Records?
Answer: His debut album, At This Moment, was released that year.
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: Was the album by Neal McCoy well received?
Answer: None of the three singles made the country Top 40,
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: Why weren't the 3 singles by  Neal McCoy well received by the public?
Answer: CANNOTANSWER
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: Did Neal McCoy tour during1990's?
Answer: CANNOTANSWER
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: Did Neal McCoy work with anyone on None of the three singles?
Answer: Working with producer Barry Beckett for
Neal McCoy

Context: He then signed to Atlantic Records in 1990, changing his surname to McCoy per the label's request, as fans had already begun to refer to him as McCoy. His debut album, At This Moment, was released that year. None of the three singles made the country Top 40, although the lead-off single "If I Built You a Fire" was a Top 20 country hit in Canada. The other two releases were the title track, a cover of Billy Vera and the Beaters' hit song from 1987, and "This Time I've Hurt Her More Than She Loves Me", which was co-written by Earl Thomas Conley and originally recorded by Conway Twitty. McCoy continued touring and developed a "reputation for exciting, freewheeling live shows."  A second album for Atlantic, Where Forever Begins, followed in 1992. This album produced his first American Top 40 country hit in its No. 40-peaking title track, followed by "There Ain't Nothin' I Don't Like About You" at No. 57, and "Now I Pray for Rain" at No. 26. The album was also his first entry on Top Country Albums, at No. 58.  Working with producer Barry Beckett for the first time, McCoy released No Doubt About It in 1994. The album produced his only number 1 country hits in its title track and "Wink", both of which also made minor entries on the Billboard Hot 100. The album also earned a platinum certification from the Recording Industry Association of America (RIAA) and gold certification from the Canadian Recording Industry Association (CRIA). Its final single was "The City Put the Country Back in Me" at No. 5. CANNOTANSWER

Question: What did Neal McCoy and  Barry Beckett work on together?
Answer: No Doubt About It in 1994.
Ministry (band)

Context: Ministry's origins date to 1978, when Al Jourgensen went from Denver to Chicago, in order to study in University of Illinois. Jourgensen was introduced to the local underground scene by his then-girlfriend Shannon Rose Riley, and soon after joined a post-punk/new wave band Special Affect, replacing Tom Hoffman on a guitar and accompanying to vocalist Frank Nardiello (Groovie Mann of My Life With the Thrill Kill Kult), drummer Harry Rushakoff (Concrete Blonde) and bassist Marty Sorenson. Following Special Affect's split, Jourgensen formed The Carmichaels, the short-lived band which featured Ben Krug, Tom Krug and Tom Wall (all of The Imports), and did numerous shows, including the one performed on April 30, 1981 with the local experimental band ONO as an opening act.  In this time Jourgensen had also met Jim Nash and Danny Flesher, the co-founders and the co-owners of the indie record label Wax Trax! Records who recommended him as a touring guitarist for a drag performer Divine. After playing a few concerts with the latter, Jourgensen--then living within an African-American neighborhood--had begun to write and record the songs in his apartment, using a newly-bought ARP Omni synthesizer, a drum machine, and a reel-to-reel tape recorder. At one point, he had presented a demo to Jim Nash, who had favored it and offered Jourgensen to record a single, as well as to form a touring band, certainly titled Ministry.  The first line-up of Ministry, assembled by Jourgensen, consisted of keyboardists Robert Roberts and John Davis, bassist Sorenson, and drummer Stephen George; initially, Jourgensen didn't want to perform vocals, but embarked on after he had auditioned twelve singers "who all sucked." Nash had paid a recording session for the band at Hedden West studios, with the help of an English-born sound engineer Iain Burgess. According to former Dead Kennedys singer and Alternative Tentacles owner Jello Biafra, Ministry's debut record was intended to be seven-inch single featuring the song "Overkill" with B-side "I'm Falling"; eventually, a twelve-inch single with "I'm Falling" and instrumental track "Primental" on A-side, backed with song "Cold Life" on B-side, came out in late 1981 on Wax Trax! in the US. In March of the following year, the single was licensed by a British label Situation Two, with "Cold Life" as A-side.  Ministry had performed their debut concert on the New Year Eve of 1982 in a Chicago-based club Misfits, and commenced a tour through the East Coast and the mid-West, supporting on occasions for the English bands Medium Medium, A Flock of Seagulls, Culture Club, and Depeche Mode. Meanwhile, "I'm Falling / Cold Life" single had found success in the UK and the US, reaching No. 45 in the Billboard Hot Dance/Disco chart with approximately 10,000 copies as of September 1982, and thus scoring Wax Trax!' first hit. CANNOTANSWER

Question: what happened with ministry ( band) in 1981
Answer: Ministry's origins date to 1978, when Al Jourgensen went from Denver to Chicago, in order to study in University of Illinois.
Ministry (band)

Context: Ministry's origins date to 1978, when Al Jourgensen went from Denver to Chicago, in order to study in University of Illinois. Jourgensen was introduced to the local underground scene by his then-girlfriend Shannon Rose Riley, and soon after joined a post-punk/new wave band Special Affect, replacing Tom Hoffman on a guitar and accompanying to vocalist Frank Nardiello (Groovie Mann of My Life With the Thrill Kill Kult), drummer Harry Rushakoff (Concrete Blonde) and bassist Marty Sorenson. Following Special Affect's split, Jourgensen formed The Carmichaels, the short-lived band which featured Ben Krug, Tom Krug and Tom Wall (all of The Imports), and did numerous shows, including the one performed on April 30, 1981 with the local experimental band ONO as an opening act.  In this time Jourgensen had also met Jim Nash and Danny Flesher, the co-founders and the co-owners of the indie record label Wax Trax! Records who recommended him as a touring guitarist for a drag performer Divine. After playing a few concerts with the latter, Jourgensen--then living within an African-American neighborhood--had begun to write and record the songs in his apartment, using a newly-bought ARP Omni synthesizer, a drum machine, and a reel-to-reel tape recorder. At one point, he had presented a demo to Jim Nash, who had favored it and offered Jourgensen to record a single, as well as to form a touring band, certainly titled Ministry.  The first line-up of Ministry, assembled by Jourgensen, consisted of keyboardists Robert Roberts and John Davis, bassist Sorenson, and drummer Stephen George; initially, Jourgensen didn't want to perform vocals, but embarked on after he had auditioned twelve singers "who all sucked." Nash had paid a recording session for the band at Hedden West studios, with the help of an English-born sound engineer Iain Burgess. According to former Dead Kennedys singer and Alternative Tentacles owner Jello Biafra, Ministry's debut record was intended to be seven-inch single featuring the song "Overkill" with B-side "I'm Falling"; eventually, a twelve-inch single with "I'm Falling" and instrumental track "Primental" on A-side, backed with song "Cold Life" on B-side, came out in late 1981 on Wax Trax! in the US. In March of the following year, the single was licensed by a British label Situation Two, with "Cold Life" as A-side.  Ministry had performed their debut concert on the New Year Eve of 1982 in a Chicago-based club Misfits, and commenced a tour through the East Coast and the mid-West, supporting on occasions for the English bands Medium Medium, A Flock of Seagulls, Culture Club, and Depeche Mode. Meanwhile, "I'm Falling / Cold Life" single had found success in the UK and the US, reaching No. 45 in the Billboard Hot Dance/Disco chart with approximately 10,000 copies as of September 1982, and thus scoring Wax Trax!' first hit. CANNOTANSWER

Question: what did Al Jourgensen study?
Answer: Jourgensen was introduced to the local underground scene by his then-girlfriend Shannon Rose Riley, and soon after joined a post-punk
Ministry (band)

Context: Ministry's origins date to 1978, when Al Jourgensen went from Denver to Chicago, in order to study in University of Illinois. Jourgensen was introduced to the local underground scene by his then-girlfriend Shannon Rose Riley, and soon after joined a post-punk/new wave band Special Affect, replacing Tom Hoffman on a guitar and accompanying to vocalist Frank Nardiello (Groovie Mann of My Life With the Thrill Kill Kult), drummer Harry Rushakoff (Concrete Blonde) and bassist Marty Sorenson. Following Special Affect's split, Jourgensen formed The Carmichaels, the short-lived band which featured Ben Krug, Tom Krug and Tom Wall (all of The Imports), and did numerous shows, including the one performed on April 30, 1981 with the local experimental band ONO as an opening act.  In this time Jourgensen had also met Jim Nash and Danny Flesher, the co-founders and the co-owners of the indie record label Wax Trax! Records who recommended him as a touring guitarist for a drag performer Divine. After playing a few concerts with the latter, Jourgensen--then living within an African-American neighborhood--had begun to write and record the songs in his apartment, using a newly-bought ARP Omni synthesizer, a drum machine, and a reel-to-reel tape recorder. At one point, he had presented a demo to Jim Nash, who had favored it and offered Jourgensen to record a single, as well as to form a touring band, certainly titled Ministry.  The first line-up of Ministry, assembled by Jourgensen, consisted of keyboardists Robert Roberts and John Davis, bassist Sorenson, and drummer Stephen George; initially, Jourgensen didn't want to perform vocals, but embarked on after he had auditioned twelve singers "who all sucked." Nash had paid a recording session for the band at Hedden West studios, with the help of an English-born sound engineer Iain Burgess. According to former Dead Kennedys singer and Alternative Tentacles owner Jello Biafra, Ministry's debut record was intended to be seven-inch single featuring the song "Overkill" with B-side "I'm Falling"; eventually, a twelve-inch single with "I'm Falling" and instrumental track "Primental" on A-side, backed with song "Cold Life" on B-side, came out in late 1981 on Wax Trax! in the US. In March of the following year, the single was licensed by a British label Situation Two, with "Cold Life" as A-side.  Ministry had performed their debut concert on the New Year Eve of 1982 in a Chicago-based club Misfits, and commenced a tour through the East Coast and the mid-West, supporting on occasions for the English bands Medium Medium, A Flock of Seagulls, Culture Club, and Depeche Mode. Meanwhile, "I'm Falling / Cold Life" single had found success in the UK and the US, reaching No. 45 in the Billboard Hot Dance/Disco chart with approximately 10,000 copies as of September 1982, and thus scoring Wax Trax!' first hit. CANNOTANSWER

Question: Al Jourgensen joined a post-punk what?
Answer: new wave band Special Affect,
Ministry (band)

Context: Ministry's origins date to 1978, when Al Jourgensen went from Denver to Chicago, in order to study in University of Illinois. Jourgensen was introduced to the local underground scene by his then-girlfriend Shannon Rose Riley, and soon after joined a post-punk/new wave band Special Affect, replacing Tom Hoffman on a guitar and accompanying to vocalist Frank Nardiello (Groovie Mann of My Life With the Thrill Kill Kult), drummer Harry Rushakoff (Concrete Blonde) and bassist Marty Sorenson. Following Special Affect's split, Jourgensen formed The Carmichaels, the short-lived band which featured Ben Krug, Tom Krug and Tom Wall (all of The Imports), and did numerous shows, including the one performed on April 30, 1981 with the local experimental band ONO as an opening act.  In this time Jourgensen had also met Jim Nash and Danny Flesher, the co-founders and the co-owners of the indie record label Wax Trax! Records who recommended him as a touring guitarist for a drag performer Divine. After playing a few concerts with the latter, Jourgensen--then living within an African-American neighborhood--had begun to write and record the songs in his apartment, using a newly-bought ARP Omni synthesizer, a drum machine, and a reel-to-reel tape recorder. At one point, he had presented a demo to Jim Nash, who had favored it and offered Jourgensen to record a single, as well as to form a touring band, certainly titled Ministry.  The first line-up of Ministry, assembled by Jourgensen, consisted of keyboardists Robert Roberts and John Davis, bassist Sorenson, and drummer Stephen George; initially, Jourgensen didn't want to perform vocals, but embarked on after he had auditioned twelve singers "who all sucked." Nash had paid a recording session for the band at Hedden West studios, with the help of an English-born sound engineer Iain Burgess. According to former Dead Kennedys singer and Alternative Tentacles owner Jello Biafra, Ministry's debut record was intended to be seven-inch single featuring the song "Overkill" with B-side "I'm Falling"; eventually, a twelve-inch single with "I'm Falling" and instrumental track "Primental" on A-side, backed with song "Cold Life" on B-side, came out in late 1981 on Wax Trax! in the US. In March of the following year, the single was licensed by a British label Situation Two, with "Cold Life" as A-side.  Ministry had performed their debut concert on the New Year Eve of 1982 in a Chicago-based club Misfits, and commenced a tour through the East Coast and the mid-West, supporting on occasions for the English bands Medium Medium, A Flock of Seagulls, Culture Club, and Depeche Mode. Meanwhile, "I'm Falling / Cold Life" single had found success in the UK and the US, reaching No. 45 in the Billboard Hot Dance/Disco chart with approximately 10,000 copies as of September 1982, and thus scoring Wax Trax!' first hit. CANNOTANSWER

Question: did Al Jourgensen and Ministry do well?
Answer: did numerous shows,
Ministry (band)

Context: Ministry's origins date to 1978, when Al Jourgensen went from Denver to Chicago, in order to study in University of Illinois. Jourgensen was introduced to the local underground scene by his then-girlfriend Shannon Rose Riley, and soon after joined a post-punk/new wave band Special Affect, replacing Tom Hoffman on a guitar and accompanying to vocalist Frank Nardiello (Groovie Mann of My Life With the Thrill Kill Kult), drummer Harry Rushakoff (Concrete Blonde) and bassist Marty Sorenson. Following Special Affect's split, Jourgensen formed The Carmichaels, the short-lived band which featured Ben Krug, Tom Krug and Tom Wall (all of The Imports), and did numerous shows, including the one performed on April 30, 1981 with the local experimental band ONO as an opening act.  In this time Jourgensen had also met Jim Nash and Danny Flesher, the co-founders and the co-owners of the indie record label Wax Trax! Records who recommended him as a touring guitarist for a drag performer Divine. After playing a few concerts with the latter, Jourgensen--then living within an African-American neighborhood--had begun to write and record the songs in his apartment, using a newly-bought ARP Omni synthesizer, a drum machine, and a reel-to-reel tape recorder. At one point, he had presented a demo to Jim Nash, who had favored it and offered Jourgensen to record a single, as well as to form a touring band, certainly titled Ministry.  The first line-up of Ministry, assembled by Jourgensen, consisted of keyboardists Robert Roberts and John Davis, bassist Sorenson, and drummer Stephen George; initially, Jourgensen didn't want to perform vocals, but embarked on after he had auditioned twelve singers "who all sucked." Nash had paid a recording session for the band at Hedden West studios, with the help of an English-born sound engineer Iain Burgess. According to former Dead Kennedys singer and Alternative Tentacles owner Jello Biafra, Ministry's debut record was intended to be seven-inch single featuring the song "Overkill" with B-side "I'm Falling"; eventually, a twelve-inch single with "I'm Falling" and instrumental track "Primental" on A-side, backed with song "Cold Life" on B-side, came out in late 1981 on Wax Trax! in the US. In March of the following year, the single was licensed by a British label Situation Two, with "Cold Life" as A-side.  Ministry had performed their debut concert on the New Year Eve of 1982 in a Chicago-based club Misfits, and commenced a tour through the East Coast and the mid-West, supporting on occasions for the English bands Medium Medium, A Flock of Seagulls, Culture Club, and Depeche Mode. Meanwhile, "I'm Falling / Cold Life" single had found success in the UK and the US, reaching No. 45 in the Billboard Hot Dance/Disco chart with approximately 10,000 copies as of September 1982, and thus scoring Wax Trax!' first hit. CANNOTANSWER

Question: Are there any other interesting aspects aside from Jourgensen about this article?
Answer: The first line-up of Ministry, assembled by Jourgensen, consisted of keyboardists Robert Roberts and John Davis, bassist Sorenson, and drummer Stephen George;
Hattie McDaniel

Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque. CANNOTANSWER

Question: What did the Oscar lead Hattie McDaniel to?
Answer: The whereabouts of McDaniel's Oscar are currently unknown.
Hattie McDaniel

Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque. CANNOTANSWER

Question: What did Hattie McDaniel bring about?
Answer: In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s.
Hattie McDaniel

Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque. CANNOTANSWER

Question: What did Jet magazine mean for Hattie McDaniel
Answer: In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard.
Hattie McDaniel

Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque. CANNOTANSWER

Question: What did no Oscar led to being written about
Answer: In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s.
Hattie McDaniel

Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque. CANNOTANSWER

Question: What did Oscar lead Hattie McDaniel too
Answer: The assertion reappeared in the Huffington Post under the same byline in 2009.
Hattie McDaniel

Context: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009.  In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s.  In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque. CANNOTANSWER

Question: What did assertions led Hattie McDaniel to do what?
Answer: In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair,