gaussalgo/Canard_Wiki-augmented huggingface dataset:
Bernard Lewis

Context: In 1936, Lewis graduated from the School of Oriental Studies (now School of Oriental and African Studies, SOAS) at the University of London with a BA in history with special reference to the Near and Middle East. He earned his PhD three years later, also from SOAS, specializing in the history of Islam. Lewis also studied law, going part of the way toward becoming a solicitor, but returned to study Middle Eastern history. He undertook post-graduate studies at the University of Paris, where he studied with the orientalist Louis Massignon and earned the "Diplome des Etudes Semitiques" in 1937. He returned to SOAS in 1938 as an assistant lecturer in Islamic History.  During the Second World War, Lewis served in the British Army in the Royal Armoured Corps and as a Corporal in the Intelligence Corps in 1940-41 before being seconded to the Foreign Office. After the war, he returned to SOAS. In 1949, at the age of 33, he was appointed to the new chair in Near and Middle Eastern History.  In 1974, aged 57, Lewis accepted a joint position at Princeton University and the Institute for Advanced Study, also located in Princeton, New Jersey. The terms of his appointment were such that Lewis taught only one semester per year, and being free from administrative responsibilities, he could devote more time to research than previously. Consequently, Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles based on previously accumulated materials. After retiring from Princeton in 1986, Lewis served at Cornell University until 1990.  In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA), but in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA, which the New York Sun noted as "dominated by academics who have been critical of Israel and of America's role in the Middle East." The organization was formed as an academic society dedicated to promoting high standards of research and teaching in Middle Eastern and African studies and other related fields, with Lewis as Chairman of its academic council.  In 1990, the National Endowment for the Humanities selected Lewis for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly under the title "The Roots of Muslim Rage." His 2007 Irving Kristol Lecture, given to the American Enterprise Institute, was published as Europe and Islam. CANNOTANSWER

Question: what was Bernard Lewis' greatest accomplishment?
Answer: Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles
Bernard Lewis

Context: In 1936, Lewis graduated from the School of Oriental Studies (now School of Oriental and African Studies, SOAS) at the University of London with a BA in history with special reference to the Near and Middle East. He earned his PhD three years later, also from SOAS, specializing in the history of Islam. Lewis also studied law, going part of the way toward becoming a solicitor, but returned to study Middle Eastern history. He undertook post-graduate studies at the University of Paris, where he studied with the orientalist Louis Massignon and earned the "Diplome des Etudes Semitiques" in 1937. He returned to SOAS in 1938 as an assistant lecturer in Islamic History.  During the Second World War, Lewis served in the British Army in the Royal Armoured Corps and as a Corporal in the Intelligence Corps in 1940-41 before being seconded to the Foreign Office. After the war, he returned to SOAS. In 1949, at the age of 33, he was appointed to the new chair in Near and Middle Eastern History.  In 1974, aged 57, Lewis accepted a joint position at Princeton University and the Institute for Advanced Study, also located in Princeton, New Jersey. The terms of his appointment were such that Lewis taught only one semester per year, and being free from administrative responsibilities, he could devote more time to research than previously. Consequently, Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles based on previously accumulated materials. After retiring from Princeton in 1986, Lewis served at Cornell University until 1990.  In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA), but in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA, which the New York Sun noted as "dominated by academics who have been critical of Israel and of America's role in the Middle East." The organization was formed as an academic society dedicated to promoting high standards of research and teaching in Middle Eastern and African studies and other related fields, with Lewis as Chairman of its academic council.  In 1990, the National Endowment for the Humanities selected Lewis for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly under the title "The Roots of Muslim Rage." His 2007 Irving Kristol Lecture, given to the American Enterprise Institute, was published as Europe and Islam. CANNOTANSWER

Question: what were the names of some of the books or articles Bernard Lewis published?
Answer: His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly
Bernard Lewis

Context: In 1936, Lewis graduated from the School of Oriental Studies (now School of Oriental and African Studies, SOAS) at the University of London with a BA in history with special reference to the Near and Middle East. He earned his PhD three years later, also from SOAS, specializing in the history of Islam. Lewis also studied law, going part of the way toward becoming a solicitor, but returned to study Middle Eastern history. He undertook post-graduate studies at the University of Paris, where he studied with the orientalist Louis Massignon and earned the "Diplome des Etudes Semitiques" in 1937. He returned to SOAS in 1938 as an assistant lecturer in Islamic History.  During the Second World War, Lewis served in the British Army in the Royal Armoured Corps and as a Corporal in the Intelligence Corps in 1940-41 before being seconded to the Foreign Office. After the war, he returned to SOAS. In 1949, at the age of 33, he was appointed to the new chair in Near and Middle Eastern History.  In 1974, aged 57, Lewis accepted a joint position at Princeton University and the Institute for Advanced Study, also located in Princeton, New Jersey. The terms of his appointment were such that Lewis taught only one semester per year, and being free from administrative responsibilities, he could devote more time to research than previously. Consequently, Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles based on previously accumulated materials. After retiring from Princeton in 1986, Lewis served at Cornell University until 1990.  In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA), but in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA, which the New York Sun noted as "dominated by academics who have been critical of Israel and of America's role in the Middle East." The organization was formed as an academic society dedicated to promoting high standards of research and teaching in Middle Eastern and African studies and other related fields, with Lewis as Chairman of its academic council.  In 1990, the National Endowment for the Humanities selected Lewis for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly under the title "The Roots of Muslim Rage." His 2007 Irving Kristol Lecture, given to the American Enterprise Institute, was published as Europe and Islam. CANNOTANSWER

Question: Aside from publishing bookes and articles, what else did Bernard Lewis do throughout his life?
Answer: In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA),
Bernard Lewis

Context: In 1936, Lewis graduated from the School of Oriental Studies (now School of Oriental and African Studies, SOAS) at the University of London with a BA in history with special reference to the Near and Middle East. He earned his PhD three years later, also from SOAS, specializing in the history of Islam. Lewis also studied law, going part of the way toward becoming a solicitor, but returned to study Middle Eastern history. He undertook post-graduate studies at the University of Paris, where he studied with the orientalist Louis Massignon and earned the "Diplome des Etudes Semitiques" in 1937. He returned to SOAS in 1938 as an assistant lecturer in Islamic History.  During the Second World War, Lewis served in the British Army in the Royal Armoured Corps and as a Corporal in the Intelligence Corps in 1940-41 before being seconded to the Foreign Office. After the war, he returned to SOAS. In 1949, at the age of 33, he was appointed to the new chair in Near and Middle Eastern History.  In 1974, aged 57, Lewis accepted a joint position at Princeton University and the Institute for Advanced Study, also located in Princeton, New Jersey. The terms of his appointment were such that Lewis taught only one semester per year, and being free from administrative responsibilities, he could devote more time to research than previously. Consequently, Lewis's arrival at Princeton marked the beginning of the most prolific period in his research career during which he published numerous books and articles based on previously accumulated materials. After retiring from Princeton in 1986, Lewis served at Cornell University until 1990.  In 1966, Lewis was a founding member of the learned society, Middle East Studies Association of North America (MESA), but in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA, which the New York Sun noted as "dominated by academics who have been critical of Israel and of America's role in the Middle East." The organization was formed as an academic society dedicated to promoting high standards of research and teaching in Middle Eastern and African studies and other related fields, with Lewis as Chairman of its academic council.  In 1990, the National Endowment for the Humanities selected Lewis for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. His lecture, entitled "Western Civilization: A View from the East", was revised and reprinted in The Atlantic Monthly under the title "The Roots of Muslim Rage." His 2007 Irving Kristol Lecture, given to the American Enterprise Institute, was published as Europe and Islam. CANNOTANSWER

Question: what did the learned society Middle East Studies Association of North America (MESA) do?
Answer: in 2007 he broke away and founded Association for the Study of the Middle East and Africa (ASMEA) to challenge MESA,
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: Who wrote Bohemian Rhapsody?
Answer: Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel.
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: What year was Bohemian Rhapsody produced?
Answer: Using the 24-track technology available at the time, the "opera" section took about three weeks to finish.
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: Where was Bohemian Rhapsody recorded?
Answer: CANNOTANSWER
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: What was the meaning of the lyrics to Bohemian Rhapsody?
Answer: Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah,
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: Why is part of Bohemian Rhapsody in Opera?
Answer: " The band wanted to create "a wall of sound, that starts down and goes all the way up
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: Who is the singer of the band that performed Bohemian Rhapsody?
Answer: Freddie
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: What is the name of the band that performed Bohemian Rhapsody?
Answer: CANNOTANSWER
Bohemian Rhapsody

Context: A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano and Timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "Let me go". Also, on "Let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.  Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah, as rival factions fight over the narrator's soul. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).  Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said "Every time Freddie came up with another 'Galileo', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers. CANNOTANSWER

Question: Is there anything else besides the lyrics I should know about the Opera part of the song Bohemian Rhapsody?
Answer: Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, Beelzebub and Bismillah,
Bobby Dodd

Context: During Bobby Dodd's tenure, Georgia Tech played against several integrated football teams while the South was resisting integration. Georgia Tech played against Notre Dame in 1953 with Wayne Edmonds starting at offensive tackle and defensive end for the Irish. Edmonds was the first black player to win a monogram at Notre Dame. Georgia Tech lost to Notre Dame 27-14.  Georgia Tech also participated in the first integrated bowl game in the Deep South. The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers. There was controversy over whether Bobby Grier from Pitt should be allowed to play because he was black, and whether Georgia Tech should even play at all due to Georgia governor Marvin Griffin's opposition to integration. Ultimately, Bobby Grier played which made the game the first integrated Sugar Bowl and the first integrated bowl game in the Deep South. Georgia Tech won the 1956 Sugar Bowl by score 7-0.  Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director. Eddie McAshan was the first African American football player to start for Georgia Tech. Bud Carson started McAshan in 1970 at quarterback as a sophomore and McAshan would go on to set several career records for Georgia Tech (which have since been broken by Shawn Jones and Joe Hamilton). McAshan's first career start was on September 12, 1970 against South Carolina. His start marked the first time that an African American had ever started at quarterback for a major Southeastern university and McAshan did not disappoint. He rallied Tech with a fourth quarter deficit, defeating the Gamecocks 23-20 with two late touchdown drives. McAshan threw for 32 touchdowns during his college football career, and Georgia Tech had 22-13-1 record during that time frame. CANNOTANSWER

Question: what did bobby dodd intergrate?
Answer: Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director.
Bobby Dodd

Context: During Bobby Dodd's tenure, Georgia Tech played against several integrated football teams while the South was resisting integration. Georgia Tech played against Notre Dame in 1953 with Wayne Edmonds starting at offensive tackle and defensive end for the Irish. Edmonds was the first black player to win a monogram at Notre Dame. Georgia Tech lost to Notre Dame 27-14.  Georgia Tech also participated in the first integrated bowl game in the Deep South. The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers. There was controversy over whether Bobby Grier from Pitt should be allowed to play because he was black, and whether Georgia Tech should even play at all due to Georgia governor Marvin Griffin's opposition to integration. Ultimately, Bobby Grier played which made the game the first integrated Sugar Bowl and the first integrated bowl game in the Deep South. Georgia Tech won the 1956 Sugar Bowl by score 7-0.  Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director. Eddie McAshan was the first African American football player to start for Georgia Tech. Bud Carson started McAshan in 1970 at quarterback as a sophomore and McAshan would go on to set several career records for Georgia Tech (which have since been broken by Shawn Jones and Joe Hamilton). McAshan's first career start was on September 12, 1970 against South Carolina. His start marked the first time that an African American had ever started at quarterback for a major Southeastern university and McAshan did not disappoint. He rallied Tech with a fourth quarter deficit, defeating the Gamecocks 23-20 with two late touchdown drives. McAshan threw for 32 touchdowns during his college football career, and Georgia Tech had 22-13-1 record during that time frame. CANNOTANSWER

Question: who did Bobby Dodd intergrate into the Georgia Tech football team?
Answer: Eddie McAshan was the first African American football player to start for Georgia Tech.
Bobby Dodd

Context: During Bobby Dodd's tenure, Georgia Tech played against several integrated football teams while the South was resisting integration. Georgia Tech played against Notre Dame in 1953 with Wayne Edmonds starting at offensive tackle and defensive end for the Irish. Edmonds was the first black player to win a monogram at Notre Dame. Georgia Tech lost to Notre Dame 27-14.  Georgia Tech also participated in the first integrated bowl game in the Deep South. The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers. There was controversy over whether Bobby Grier from Pitt should be allowed to play because he was black, and whether Georgia Tech should even play at all due to Georgia governor Marvin Griffin's opposition to integration. Ultimately, Bobby Grier played which made the game the first integrated Sugar Bowl and the first integrated bowl game in the Deep South. Georgia Tech won the 1956 Sugar Bowl by score 7-0.  Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director. Eddie McAshan was the first African American football player to start for Georgia Tech. Bud Carson started McAshan in 1970 at quarterback as a sophomore and McAshan would go on to set several career records for Georgia Tech (which have since been broken by Shawn Jones and Joe Hamilton). McAshan's first career start was on September 12, 1970 against South Carolina. His start marked the first time that an African American had ever started at quarterback for a major Southeastern university and McAshan did not disappoint. He rallied Tech with a fourth quarter deficit, defeating the Gamecocks 23-20 with two late touchdown drives. McAshan threw for 32 touchdowns during his college football career, and Georgia Tech had 22-13-1 record during that time frame. CANNOTANSWER

Question: how did the intergration of the Georgia Tech football team help?
Answer: the South was resisting integration.
Bobby Dodd

Context: During Bobby Dodd's tenure, Georgia Tech played against several integrated football teams while the South was resisting integration. Georgia Tech played against Notre Dame in 1953 with Wayne Edmonds starting at offensive tackle and defensive end for the Irish. Edmonds was the first black player to win a monogram at Notre Dame. Georgia Tech lost to Notre Dame 27-14.  Georgia Tech also participated in the first integrated bowl game in the Deep South. The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers. There was controversy over whether Bobby Grier from Pitt should be allowed to play because he was black, and whether Georgia Tech should even play at all due to Georgia governor Marvin Griffin's opposition to integration. Ultimately, Bobby Grier played which made the game the first integrated Sugar Bowl and the first integrated bowl game in the Deep South. Georgia Tech won the 1956 Sugar Bowl by score 7-0.  Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director. Eddie McAshan was the first African American football player to start for Georgia Tech. Bud Carson started McAshan in 1970 at quarterback as a sophomore and McAshan would go on to set several career records for Georgia Tech (which have since been broken by Shawn Jones and Joe Hamilton). McAshan's first career start was on September 12, 1970 against South Carolina. His start marked the first time that an African American had ever started at quarterback for a major Southeastern university and McAshan did not disappoint. He rallied Tech with a fourth quarter deficit, defeating the Gamecocks 23-20 with two late touchdown drives. McAshan threw for 32 touchdowns during his college football career, and Georgia Tech had 22-13-1 record during that time frame. CANNOTANSWER

Question: Besides Eddie McAshan, did bobby dodd help any other players?
Answer: Georgia Tech also participated in the first integrated bowl game in the Deep South.
Bobby Dodd

Context: During Bobby Dodd's tenure, Georgia Tech played against several integrated football teams while the South was resisting integration. Georgia Tech played against Notre Dame in 1953 with Wayne Edmonds starting at offensive tackle and defensive end for the Irish. Edmonds was the first black player to win a monogram at Notre Dame. Georgia Tech lost to Notre Dame 27-14.  Georgia Tech also participated in the first integrated bowl game in the Deep South. The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers. There was controversy over whether Bobby Grier from Pitt should be allowed to play because he was black, and whether Georgia Tech should even play at all due to Georgia governor Marvin Griffin's opposition to integration. Ultimately, Bobby Grier played which made the game the first integrated Sugar Bowl and the first integrated bowl game in the Deep South. Georgia Tech won the 1956 Sugar Bowl by score 7-0.  Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director. Eddie McAshan was the first African American football player to start for Georgia Tech. Bud Carson started McAshan in 1970 at quarterback as a sophomore and McAshan would go on to set several career records for Georgia Tech (which have since been broken by Shawn Jones and Joe Hamilton). McAshan's first career start was on September 12, 1970 against South Carolina. His start marked the first time that an African American had ever started at quarterback for a major Southeastern university and McAshan did not disappoint. He rallied Tech with a fourth quarter deficit, defeating the Gamecocks 23-20 with two late touchdown drives. McAshan threw for 32 touchdowns during his college football career, and Georgia Tech had 22-13-1 record during that time frame. CANNOTANSWER

Question: can you tell me about the first intergrated football bowl game?
Answer: The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers.
Bobby Dodd

Context: During Bobby Dodd's tenure, Georgia Tech played against several integrated football teams while the South was resisting integration. Georgia Tech played against Notre Dame in 1953 with Wayne Edmonds starting at offensive tackle and defensive end for the Irish. Edmonds was the first black player to win a monogram at Notre Dame. Georgia Tech lost to Notre Dame 27-14.  Georgia Tech also participated in the first integrated bowl game in the Deep South. The 1956 Sugar Bowl featured the 7th ranked Georgia Tech Yellow Jackets, and the 11th ranked Pitt Panthers. There was controversy over whether Bobby Grier from Pitt should be allowed to play because he was black, and whether Georgia Tech should even play at all due to Georgia governor Marvin Griffin's opposition to integration. Ultimately, Bobby Grier played which made the game the first integrated Sugar Bowl and the first integrated bowl game in the Deep South. Georgia Tech won the 1956 Sugar Bowl by score 7-0.  Bobby Dodd oversaw the integration of Georgia Tech football team as Athletic Director. Eddie McAshan was the first African American football player to start for Georgia Tech. Bud Carson started McAshan in 1970 at quarterback as a sophomore and McAshan would go on to set several career records for Georgia Tech (which have since been broken by Shawn Jones and Joe Hamilton). McAshan's first career start was on September 12, 1970 against South Carolina. His start marked the first time that an African American had ever started at quarterback for a major Southeastern university and McAshan did not disappoint. He rallied Tech with a fourth quarter deficit, defeating the Gamecocks 23-20 with two late touchdown drives. McAshan threw for 32 touchdowns during his college football career, and Georgia Tech had 22-13-1 record during that time frame. CANNOTANSWER

Question: when was the first football bowl game?
Answer: CANNOTANSWER
Violent J

Context: On January 21, 2004, Bruce appeared alongside Utsler on an episode of the weekly NWA Total Nonstop Action PPV. The duo were shown partying in the crowd alongside the Juggalos in attendance. In the main event of the night, which featured Jeff Jarrett going against El Leon, Jarrett and El Leon were fighting in the crowd when Insane Clown Posse sprayed Faygo in Jarrett's eyes. The following week, Insane Clown Posse were interviewed in the ring by Mike Tenay. The duo explained that they were fans of TNA, and that they wanted to be a part of the promotion themselves. As they started making kayfabe negative remarks toward Jarrett, Glenn Gilberti and David Young interrupted. When Gilberti tried to convince the duo to apologize to Jarrett, Insane Clown Posse chased Gilbertti and Young out of the ring before challenging the team to a match for the next week.  On February 4, Insane Clown Posse defeated Glen Gilbertti and David Young. Later that night, Scott Hudson interviewed Insane Clown Posse, and the duo announced that they would face whoever Jeff Jarrett threw at them next in a "Juggalo Street Fight". Insane Clown Posse won against the team of Glen Gilbertti and Kid Kash on February 18. Two weeks later, Insane Clown Posse announced that they would take part in a "Dark Carnival match" the next week against Glen Gilbertti and any partner he chooses. The following week, Insane Clown Posse and 2 Tuff Tony took on Glen Gilbertti, Kid Kash, and David Young. "The Alpha Male" Monty Brown made his TNA return, and cost Insane Clown Posse and 2 Tuff Tony the match. During their stint in TNA, Insane Clown Posse brought the company its largest paying crowds in history. After the duo left, they remained close with the company.  On March 17, 2006, Insane Clown Posse hosted and booked TNA's first ever house show, which took place in Detroit, Michigan. The duo defeated Team Canada members Eric Young and Petey Williams. CANNOTANSWER

Question: What is Total Nonstop Action Wrestling?
Answer: On January 21, 2004, Bruce appeared alongside Utsler on an episode of the weekly NWA Total Nonstop Action PPV.
Violent J

Context: On January 21, 2004, Bruce appeared alongside Utsler on an episode of the weekly NWA Total Nonstop Action PPV. The duo were shown partying in the crowd alongside the Juggalos in attendance. In the main event of the night, which featured Jeff Jarrett going against El Leon, Jarrett and El Leon were fighting in the crowd when Insane Clown Posse sprayed Faygo in Jarrett's eyes. The following week, Insane Clown Posse were interviewed in the ring by Mike Tenay. The duo explained that they were fans of TNA, and that they wanted to be a part of the promotion themselves. As they started making kayfabe negative remarks toward Jarrett, Glenn Gilberti and David Young interrupted. When Gilberti tried to convince the duo to apologize to Jarrett, Insane Clown Posse chased Gilbertti and Young out of the ring before challenging the team to a match for the next week.  On February 4, Insane Clown Posse defeated Glen Gilbertti and David Young. Later that night, Scott Hudson interviewed Insane Clown Posse, and the duo announced that they would face whoever Jeff Jarrett threw at them next in a "Juggalo Street Fight". Insane Clown Posse won against the team of Glen Gilbertti and Kid Kash on February 18. Two weeks later, Insane Clown Posse announced that they would take part in a "Dark Carnival match" the next week against Glen Gilbertti and any partner he chooses. The following week, Insane Clown Posse and 2 Tuff Tony took on Glen Gilbertti, Kid Kash, and David Young. "The Alpha Male" Monty Brown made his TNA return, and cost Insane Clown Posse and 2 Tuff Tony the match. During their stint in TNA, Insane Clown Posse brought the company its largest paying crowds in history. After the duo left, they remained close with the company.  On March 17, 2006, Insane Clown Posse hosted and booked TNA's first ever house show, which took place in Detroit, Michigan. The duo defeated Team Canada members Eric Young and Petey Williams. CANNOTANSWER

Question: What did Bruce and Utsler do?
Answer: The duo were shown partying in the crowd alongside the Juggalos in attendance.
Violent J

Context: On January 21, 2004, Bruce appeared alongside Utsler on an episode of the weekly NWA Total Nonstop Action PPV. The duo were shown partying in the crowd alongside the Juggalos in attendance. In the main event of the night, which featured Jeff Jarrett going against El Leon, Jarrett and El Leon were fighting in the crowd when Insane Clown Posse sprayed Faygo in Jarrett's eyes. The following week, Insane Clown Posse were interviewed in the ring by Mike Tenay. The duo explained that they were fans of TNA, and that they wanted to be a part of the promotion themselves. As they started making kayfabe negative remarks toward Jarrett, Glenn Gilberti and David Young interrupted. When Gilberti tried to convince the duo to apologize to Jarrett, Insane Clown Posse chased Gilbertti and Young out of the ring before challenging the team to a match for the next week.  On February 4, Insane Clown Posse defeated Glen Gilbertti and David Young. Later that night, Scott Hudson interviewed Insane Clown Posse, and the duo announced that they would face whoever Jeff Jarrett threw at them next in a "Juggalo Street Fight". Insane Clown Posse won against the team of Glen Gilbertti and Kid Kash on February 18. Two weeks later, Insane Clown Posse announced that they would take part in a "Dark Carnival match" the next week against Glen Gilbertti and any partner he chooses. The following week, Insane Clown Posse and 2 Tuff Tony took on Glen Gilbertti, Kid Kash, and David Young. "The Alpha Male" Monty Brown made his TNA return, and cost Insane Clown Posse and 2 Tuff Tony the match. During their stint in TNA, Insane Clown Posse brought the company its largest paying crowds in history. After the duo left, they remained close with the company.  On March 17, 2006, Insane Clown Posse hosted and booked TNA's first ever house show, which took place in Detroit, Michigan. The duo defeated Team Canada members Eric Young and Petey Williams. CANNOTANSWER

Question: Did Bruce make any appearances with anyone else of note other than Utsler?
Answer: Jeff Jarrett
Violent J

Context: On January 21, 2004, Bruce appeared alongside Utsler on an episode of the weekly NWA Total Nonstop Action PPV. The duo were shown partying in the crowd alongside the Juggalos in attendance. In the main event of the night, which featured Jeff Jarrett going against El Leon, Jarrett and El Leon were fighting in the crowd when Insane Clown Posse sprayed Faygo in Jarrett's eyes. The following week, Insane Clown Posse were interviewed in the ring by Mike Tenay. The duo explained that they were fans of TNA, and that they wanted to be a part of the promotion themselves. As they started making kayfabe negative remarks toward Jarrett, Glenn Gilberti and David Young interrupted. When Gilberti tried to convince the duo to apologize to Jarrett, Insane Clown Posse chased Gilbertti and Young out of the ring before challenging the team to a match for the next week.  On February 4, Insane Clown Posse defeated Glen Gilbertti and David Young. Later that night, Scott Hudson interviewed Insane Clown Posse, and the duo announced that they would face whoever Jeff Jarrett threw at them next in a "Juggalo Street Fight". Insane Clown Posse won against the team of Glen Gilbertti and Kid Kash on February 18. Two weeks later, Insane Clown Posse announced that they would take part in a "Dark Carnival match" the next week against Glen Gilbertti and any partner he chooses. The following week, Insane Clown Posse and 2 Tuff Tony took on Glen Gilbertti, Kid Kash, and David Young. "The Alpha Male" Monty Brown made his TNA return, and cost Insane Clown Posse and 2 Tuff Tony the match. During their stint in TNA, Insane Clown Posse brought the company its largest paying crowds in history. After the duo left, they remained close with the company.  On March 17, 2006, Insane Clown Posse hosted and booked TNA's first ever house show, which took place in Detroit, Michigan. The duo defeated Team Canada members Eric Young and Petey Williams. CANNOTANSWER

Question: What appearance was did Bruce make with Jeff Jarrett?
Answer: weekly NWA Total Nonstop Action PPV.