gaussalgo/Canard_Wiki-augmented huggingface dataset:
Sam Thompson

Context: In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974.  Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies.  Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."  In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford. CANNOTANSWER

Question: Was Sam Thompson put in the hall of fame?
Answer: on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: What happened in Will Forte's career in 1997?
Answer: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet.
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: What did Will Forte do after taking classes in L.A. for comedy?
Answer: The comics landed him his first professional job writing for The Jenny McCarthy Show,
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: Did Will Forte do well writing for The Jenny McCarthy Show?
Answer: Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: Did Will Forte join the Late Show with David Letterman?
Answer: At his audition for SNL, he performed multiple original characters, including Tim Calhoun,
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: What characters other than Tim Calhoun did Will Forte perform for his audition at SNL?
Answer: Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen.
Will Forte

Context: He began taking classes at the Groundlings in Los Angeles, an improvisational and sketch comedy troupe and school, while tutoring children to make ends meet. Forte's first successful foray into comedy was 101 Things to Definitely Not Do If You Want to Get a Chick, a comic book he produced that details incompetent men. The comics landed him his first professional job writing for The Jenny McCarthy Show, a short-lived variety show starring Jenny McCarthy. Shortly thereafter, he was asked to submit a packet to the Late Show with David Letterman and was told Letterman responded favorably to animation. After only nine months at Letterman, he was "let go" from the job. He recalled his stint on the program as unpleasant, noting that he did not have enough experience in writing. "What an honor to work at that show but I don't think I was fully mentally prepared. [...] I always wonder what it would be like if I'd had a couple more years of experience before going there."  Forte returned to Los Angeles and began performing with the Groundlings' Main Company, with Cheryl Hines, Jim Rash and Maya Rudolph. He tried stand-up comedy three times, mostly at open mic nights, but quit after being voted into the Main Company. He joined the writing teams of two failed sitcoms, including The Army Show and Action. Forte got jobs writing for 3rd Rock from the Sun and That '70s Show, two successful programs. He loved writing but had mostly given up on acting, aside from acting with the Groundlings. While performing with the troupe in 2001, he was spotted by Lorne Michaels, the creator of Saturday Night Live (SNL). Forte felt his confidence was higher than usual, as That '70s Show had been picked up for two more years. He was invited to audition for SNL, which he regarded as unexpected.  At his audition for SNL, he performed multiple original characters, including Tim Calhoun, a speed reader, a prison guard, in addition to impressions of singer Michael McDonald and actor Martin Sheen. His final character was an older piece from his days with the Groundlings, in which he portrays a gold-painted street performer who performs fellatio to pay for his face paint, which devolves into a song needlessly uttering the words "cock" and "face paint" dozens of times. He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned. To his surprise, he was offered a chance to be on the show, but declined, opting instead for the financial stability of his work at That '70s Show. He felt working for SNL could not live up to the idealized version he had dreamed of, but he later realized he would be making a mistake. CANNOTANSWER

Question: Did Will Forte win an award for acting as Tim Calhoun, a speed reader, a prison guard, or his impressions on Saturday Night Live?
Answer: He felt his time to shine as a performer was already over, as he was in his thirties when he auditioned.
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: What is special about Taylor Swift's songwriting?
Answer: Swift uses her life experiences as an inspiration in her work.
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: What sort of life experiences does Taylor Swift write about?
Answer: Swift frequently criticizes ex-boyfriends,
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: Does Taylor Swift have a routine with songwriting?
Answer: According to The Village Voice, she uses third-verse point of view reversals frequently.
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: Why does Taylor Swift use third-verse point of view reversals in her songwriting?
Answer: Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture".
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: Has Taylor Swift's songwriting style from country to pop changed?
Answer: CANNOTANSWER
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: In addition to Taylor Swift frequently criticizing ex-boyfriends in her songwriting, are there any other interesting aspects about this article?
Answer: The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia"
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: Has Taylor Swift spoken of any other influences for her lyrics, in addition to uses her life experiences as an inspiration in her work?
Answer: Swift often addresses the "anonymous crushes of her high school years" and celebrities.
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: Has Taylor Swift revealed the identity of any of the crushes in her songs?
Answer: Swift tries not to talk about song subjects specifically "because these are real people.
Taylor Swift

Context: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus".  For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist.  The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative".  Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary". CANNOTANSWER

Question: Where else has Taylor Swift found inspiration, aside from the anonymous crushes of her high school years?
Answer: The singer herself has said that not all her songs are factual and that they are sometimes based on observations.