gaussalgo/Canard_Wiki-augmented huggingface dataset:
Dana Rohrabacher

Context: Rohrabacher doubts that global warming is caused by humans. During a congressional hearing on climate change on February 8, 2007, Rohrabacher mused that previous warming cycles may have been caused by carbon dioxide released into the atmosphere by "dinosaur flatulence": "In fact, it is assumed at best to be unproven and at worst a liberal claptrap, trendy, but soon to go out of style in our new Congress." Politico and the New York Times reported that on May 25, 2011, Rohrabacher expressed further skepticism regarding the existence of man-made global warming and suggested that, if global warming is an issue, a possible solution could be clear-cutting rain forests, and replanting. These reports sparked strong criticism by some scientists, including Oliver Phillips, a geography professor at the University of Leeds. They noted the consensus that intact forests act as net absorbers of carbon, reducing global warming. In response, Rohrabacher stated,  Once again those with a global agenda have created a straw man by misrepresenting the position of their critics. I do not believe that CO2 is a cause of global warming, nor have I ever advocated the reduction of CO2 through the clearing of rainforests or cutting down older trees to prevent global warming. But that is how my question to a witness during my subcommittee hearing on May 25th is being reported. I simply asked the witness, Dr. Todd Stern, who is a supporter of a global climate treaty that would dramatically hurt the standard of living for millions of human beings, if he was considering a policy that would address naturally emitted carbon dioxide, which makes up over 90% of emissions. To suggest that I'm advocating such a radical approach instead of simply questioning the policy is a total misrepresentation of my position.  Rohrabacher does not believe that global warming is a problem. At a town hall meeting with the Newport Mesa Tea Party in August 2013, Rohrabacher said "global warming is a total fraud" and part of a "game plan" by liberals to "create global government". CANNOTANSWER

Question: Did anyone disagree with Dana Rohrabacher's beliefs about global warming and previous warming?
Answer: CANNOTANSWER
Dana Rohrabacher

Context: Rohrabacher doubts that global warming is caused by humans. During a congressional hearing on climate change on February 8, 2007, Rohrabacher mused that previous warming cycles may have been caused by carbon dioxide released into the atmosphere by "dinosaur flatulence": "In fact, it is assumed at best to be unproven and at worst a liberal claptrap, trendy, but soon to go out of style in our new Congress." Politico and the New York Times reported that on May 25, 2011, Rohrabacher expressed further skepticism regarding the existence of man-made global warming and suggested that, if global warming is an issue, a possible solution could be clear-cutting rain forests, and replanting. These reports sparked strong criticism by some scientists, including Oliver Phillips, a geography professor at the University of Leeds. They noted the consensus that intact forests act as net absorbers of carbon, reducing global warming. In response, Rohrabacher stated,  Once again those with a global agenda have created a straw man by misrepresenting the position of their critics. I do not believe that CO2 is a cause of global warming, nor have I ever advocated the reduction of CO2 through the clearing of rainforests or cutting down older trees to prevent global warming. But that is how my question to a witness during my subcommittee hearing on May 25th is being reported. I simply asked the witness, Dr. Todd Stern, who is a supporter of a global climate treaty that would dramatically hurt the standard of living for millions of human beings, if he was considering a policy that would address naturally emitted carbon dioxide, which makes up over 90% of emissions. To suggest that I'm advocating such a radical approach instead of simply questioning the policy is a total misrepresentation of my position.  Rohrabacher does not believe that global warming is a problem. At a town hall meeting with the Newport Mesa Tea Party in August 2013, Rohrabacher said "global warming is a total fraud" and part of a "game plan" by liberals to "create global government". CANNOTANSWER

Question: Did Dana Rohrabacher receive criticism for his beliefs on global warming and previous warming cycles?
Answer: CANNOTANSWER
Dana Rohrabacher

Context: Rohrabacher doubts that global warming is caused by humans. During a congressional hearing on climate change on February 8, 2007, Rohrabacher mused that previous warming cycles may have been caused by carbon dioxide released into the atmosphere by "dinosaur flatulence": "In fact, it is assumed at best to be unproven and at worst a liberal claptrap, trendy, but soon to go out of style in our new Congress." Politico and the New York Times reported that on May 25, 2011, Rohrabacher expressed further skepticism regarding the existence of man-made global warming and suggested that, if global warming is an issue, a possible solution could be clear-cutting rain forests, and replanting. These reports sparked strong criticism by some scientists, including Oliver Phillips, a geography professor at the University of Leeds. They noted the consensus that intact forests act as net absorbers of carbon, reducing global warming. In response, Rohrabacher stated,  Once again those with a global agenda have created a straw man by misrepresenting the position of their critics. I do not believe that CO2 is a cause of global warming, nor have I ever advocated the reduction of CO2 through the clearing of rainforests or cutting down older trees to prevent global warming. But that is how my question to a witness during my subcommittee hearing on May 25th is being reported. I simply asked the witness, Dr. Todd Stern, who is a supporter of a global climate treaty that would dramatically hurt the standard of living for millions of human beings, if he was considering a policy that would address naturally emitted carbon dioxide, which makes up over 90% of emissions. To suggest that I'm advocating such a radical approach instead of simply questioning the policy is a total misrepresentation of my position.  Rohrabacher does not believe that global warming is a problem. At a town hall meeting with the Newport Mesa Tea Party in August 2013, Rohrabacher said "global warming is a total fraud" and part of a "game plan" by liberals to "create global government". CANNOTANSWER

Question: Besides his beliefs on global warming and previous warming cycles, is there anything else interesting about Dana Rohrabacher?
Answer: Rohrabacher said "global warming is a total fraud" and part of a "game plan" by liberals to "create global government".
Dana Rohrabacher

Context: Rohrabacher doubts that global warming is caused by humans. During a congressional hearing on climate change on February 8, 2007, Rohrabacher mused that previous warming cycles may have been caused by carbon dioxide released into the atmosphere by "dinosaur flatulence": "In fact, it is assumed at best to be unproven and at worst a liberal claptrap, trendy, but soon to go out of style in our new Congress." Politico and the New York Times reported that on May 25, 2011, Rohrabacher expressed further skepticism regarding the existence of man-made global warming and suggested that, if global warming is an issue, a possible solution could be clear-cutting rain forests, and replanting. These reports sparked strong criticism by some scientists, including Oliver Phillips, a geography professor at the University of Leeds. They noted the consensus that intact forests act as net absorbers of carbon, reducing global warming. In response, Rohrabacher stated,  Once again those with a global agenda have created a straw man by misrepresenting the position of their critics. I do not believe that CO2 is a cause of global warming, nor have I ever advocated the reduction of CO2 through the clearing of rainforests or cutting down older trees to prevent global warming. But that is how my question to a witness during my subcommittee hearing on May 25th is being reported. I simply asked the witness, Dr. Todd Stern, who is a supporter of a global climate treaty that would dramatically hurt the standard of living for millions of human beings, if he was considering a policy that would address naturally emitted carbon dioxide, which makes up over 90% of emissions. To suggest that I'm advocating such a radical approach instead of simply questioning the policy is a total misrepresentation of my position.  Rohrabacher does not believe that global warming is a problem. At a town hall meeting with the Newport Mesa Tea Party in August 2013, Rohrabacher said "global warming is a total fraud" and part of a "game plan" by liberals to "create global government". CANNOTANSWER

Question: Besides his skepticism regarding the existence of man-made global warming and musing that previous warming cycles may have been caused by carbon dioxide released into the atmosphere by "dinosaur Flatulence", did Dana Rohrabacher express any other opinions about global warming?
Answer: ": "In fact, it is assumed at best to be unproven and at worst a liberal claptrap, trendy, but soon to go out of style in our new Congress."
Clare Fischer

Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract. CANNOTANSWER

Question: What did Clare Fischer during Initial employment?
Answer: Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger.
Clare Fischer

Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract. CANNOTANSWER

Question: What style of music did Clare Fischer do?
Answer: he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group
Clare Fischer

Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract. CANNOTANSWER

Question: Where did Clare Fischer work during Initial employment?
Answer: he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival
Clare Fischer

Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract. CANNOTANSWER

Question: Did Clare Fischer have any early influences?
Answer: Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto.
Clare Fischer

Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract. CANNOTANSWER

Question: Did Clare Fischer get any awards when he was in his early stage?
Answer: CANNOTANSWER
Clare Fischer

Context: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract. CANNOTANSWER

Question: Who was Clare Fischer's manager?
Answer: CANNOTANSWER
Michael Shermer

Context: While cycling, Shermer taught Psychology 101 during the evenings at Glendale Community College, a two-year college. Wanting to teach at a four-year university, he decided to earn his PhD. Because Shermer's interests lay in behaviorism and he did not believe he could make a difference in the world by working in a lab with Skinner boxes, he lost interest in psychology and switched to studying the history of science, earning his PhD at Claremont Graduate University in 1991. His dissertation was titled Heretic-Scientist: Alfred Russel Wallace and the Evolution of Man: A Study on the Nature of Historical Change.  Shermer later based a full-length book on his dissertation; the book, titled In Darwin's Shadow: The Life and Science of Alfred Russel Wallace: A Biographical Study on the Psychology of History, was published in August 2002.  Earlier that year, in his book The Borderlands of Science, Shermer rated several noted scientists for gullibility toward "pseudo" or "borderland" ideas, using a rating version, developed by psychologist Frank Sulloway, of the Big Five model of personality. Shermer rated Wallace extremely high (99th percentile) on agreeableness/accommodation and argued that this was the key trait in distinguishing Wallace from scientists who give less credence to fringe ideas.  Shermer then became an adjunct professor of the history of science at Occidental College, California. In 2007, Shermer took a position as a senior research fellow at Claremont Graduate University. In 2011, he took a position as an adjunct professor at Chapman University, and was later made a Presidential Fellow. At Chapman, he teaches a yearly critical thinking course called Skepticism 101, in which he tries out new ideas on students. CANNOTANSWER

Question: What did Michael Shermer earn his PhD in?
Answer: history of science,
Michael Shermer

Context: While cycling, Shermer taught Psychology 101 during the evenings at Glendale Community College, a two-year college. Wanting to teach at a four-year university, he decided to earn his PhD. Because Shermer's interests lay in behaviorism and he did not believe he could make a difference in the world by working in a lab with Skinner boxes, he lost interest in psychology and switched to studying the history of science, earning his PhD at Claremont Graduate University in 1991. His dissertation was titled Heretic-Scientist: Alfred Russel Wallace and the Evolution of Man: A Study on the Nature of Historical Change.  Shermer later based a full-length book on his dissertation; the book, titled In Darwin's Shadow: The Life and Science of Alfred Russel Wallace: A Biographical Study on the Psychology of History, was published in August 2002.  Earlier that year, in his book The Borderlands of Science, Shermer rated several noted scientists for gullibility toward "pseudo" or "borderland" ideas, using a rating version, developed by psychologist Frank Sulloway, of the Big Five model of personality. Shermer rated Wallace extremely high (99th percentile) on agreeableness/accommodation and argued that this was the key trait in distinguishing Wallace from scientists who give less credence to fringe ideas.  Shermer then became an adjunct professor of the history of science at Occidental College, California. In 2007, Shermer took a position as a senior research fellow at Claremont Graduate University. In 2011, he took a position as an adjunct professor at Chapman University, and was later made a Presidential Fellow. At Chapman, he teaches a yearly critical thinking course called Skepticism 101, in which he tries out new ideas on students. CANNOTANSWER

Question: Where did Michael Shermer earn his PhD?
Answer: at Claremont Graduate University
Michael Shermer

Context: While cycling, Shermer taught Psychology 101 during the evenings at Glendale Community College, a two-year college. Wanting to teach at a four-year university, he decided to earn his PhD. Because Shermer's interests lay in behaviorism and he did not believe he could make a difference in the world by working in a lab with Skinner boxes, he lost interest in psychology and switched to studying the history of science, earning his PhD at Claremont Graduate University in 1991. His dissertation was titled Heretic-Scientist: Alfred Russel Wallace and the Evolution of Man: A Study on the Nature of Historical Change.  Shermer later based a full-length book on his dissertation; the book, titled In Darwin's Shadow: The Life and Science of Alfred Russel Wallace: A Biographical Study on the Psychology of History, was published in August 2002.  Earlier that year, in his book The Borderlands of Science, Shermer rated several noted scientists for gullibility toward "pseudo" or "borderland" ideas, using a rating version, developed by psychologist Frank Sulloway, of the Big Five model of personality. Shermer rated Wallace extremely high (99th percentile) on agreeableness/accommodation and argued that this was the key trait in distinguishing Wallace from scientists who give less credence to fringe ideas.  Shermer then became an adjunct professor of the history of science at Occidental College, California. In 2007, Shermer took a position as a senior research fellow at Claremont Graduate University. In 2011, he took a position as an adjunct professor at Chapman University, and was later made a Presidential Fellow. At Chapman, he teaches a yearly critical thinking course called Skepticism 101, in which he tries out new ideas on students. CANNOTANSWER

Question: In what year did Michael Shermer earn his PhD?
Answer: in 1991.
Michael Shermer

Context: While cycling, Shermer taught Psychology 101 during the evenings at Glendale Community College, a two-year college. Wanting to teach at a four-year university, he decided to earn his PhD. Because Shermer's interests lay in behaviorism and he did not believe he could make a difference in the world by working in a lab with Skinner boxes, he lost interest in psychology and switched to studying the history of science, earning his PhD at Claremont Graduate University in 1991. His dissertation was titled Heretic-Scientist: Alfred Russel Wallace and the Evolution of Man: A Study on the Nature of Historical Change.  Shermer later based a full-length book on his dissertation; the book, titled In Darwin's Shadow: The Life and Science of Alfred Russel Wallace: A Biographical Study on the Psychology of History, was published in August 2002.  Earlier that year, in his book The Borderlands of Science, Shermer rated several noted scientists for gullibility toward "pseudo" or "borderland" ideas, using a rating version, developed by psychologist Frank Sulloway, of the Big Five model of personality. Shermer rated Wallace extremely high (99th percentile) on agreeableness/accommodation and argued that this was the key trait in distinguishing Wallace from scientists who give less credence to fringe ideas.  Shermer then became an adjunct professor of the history of science at Occidental College, California. In 2007, Shermer took a position as a senior research fellow at Claremont Graduate University. In 2011, he took a position as an adjunct professor at Chapman University, and was later made a Presidential Fellow. At Chapman, he teaches a yearly critical thinking course called Skepticism 101, in which he tries out new ideas on students. CANNOTANSWER

Question: Where did Michael Shermer begin teaching?
Answer: Occidental College, California.
Michael Shermer

Context: While cycling, Shermer taught Psychology 101 during the evenings at Glendale Community College, a two-year college. Wanting to teach at a four-year university, he decided to earn his PhD. Because Shermer's interests lay in behaviorism and he did not believe he could make a difference in the world by working in a lab with Skinner boxes, he lost interest in psychology and switched to studying the history of science, earning his PhD at Claremont Graduate University in 1991. His dissertation was titled Heretic-Scientist: Alfred Russel Wallace and the Evolution of Man: A Study on the Nature of Historical Change.  Shermer later based a full-length book on his dissertation; the book, titled In Darwin's Shadow: The Life and Science of Alfred Russel Wallace: A Biographical Study on the Psychology of History, was published in August 2002.  Earlier that year, in his book The Borderlands of Science, Shermer rated several noted scientists for gullibility toward "pseudo" or "borderland" ideas, using a rating version, developed by psychologist Frank Sulloway, of the Big Five model of personality. Shermer rated Wallace extremely high (99th percentile) on agreeableness/accommodation and argued that this was the key trait in distinguishing Wallace from scientists who give less credence to fringe ideas.  Shermer then became an adjunct professor of the history of science at Occidental College, California. In 2007, Shermer took a position as a senior research fellow at Claremont Graduate University. In 2011, he took a position as an adjunct professor at Chapman University, and was later made a Presidential Fellow. At Chapman, he teaches a yearly critical thinking course called Skepticism 101, in which he tries out new ideas on students. CANNOTANSWER

Question: What did Michael Shermer teach?
Answer: he teaches a yearly critical thinking course called Skepticism 101,
Wishbone Ash

Context: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner.  In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991.  Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER

Question: What happened in 1987 to Wishbone Ash?
Answer: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all
Wishbone Ash

Context: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner.  In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991.  Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER

Question: What was special about the series of albums entitled No Speak?
Answer: all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached
Wishbone Ash

Context: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner.  In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991.  Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER

Question: Who did Copeland sign for his label?
Answer: Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album.
Wishbone Ash

Context: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner.  In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991.  Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER

Question: Did the four founding members of Wishbone Ash agree to sign with Copeland?
Answer: For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988.
Wishbone Ash

Context: In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner.  In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991.  Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER

Question: Did the album Nouveau Calls do well?
Answer: The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s.