gaussalgo/Canard_Wiki-augmented huggingface dataset:
Murray Rothbard

Context: Murray Rothbard's parents were David and Rae Rothbard, Jewish immigrants to the U.S. from Poland and Russia, respectively. David Rothbard was a chemist. Murray attended Birch Wathen, a private school in New York City. Rothbard later stated that he much preferred Birch Wathen to the "debasing and egalitarian public school system" he had previously attended in the Bronx.  Rothbard wrote of having grown up as a "right-winger" (adherent of the "Old Right") among friends and neighbors who were "communists or fellow-travelers." Rothbard characterized his immigrant father as an individualist who embraced the American values of minimal government, free enterprise, private property, and "a determination to rise by one's own merits". "[A]ll socialism seemed to me monstrously coercive and abhorrent."  He attended Columbia University, where he received a Bachelor of Arts degree in mathematics in 1945 and, eleven years later, his PhD in economics in 1956. The delay in receiving his PhD was due in part to conflict with his advisor, Joseph Dorfman, and in part to Arthur Burns rejecting his doctoral dissertation. Burns was a longtime friend of the Rothbard family and their neighbor at their Manhattan apartment building. It was only after Burns went on leave from the Columbia faculty to head President Eisenhower's Council of Economic Advisors that Rothbard's thesis was accepted and he received his doctorate. Rothbard later stated that all of his fellow students there were extreme leftists and that he was one of only two Republicans on the Columbia campus at the time.  During the 1940s Rothbard became acquainted with Frank Chodorov and read widely in libertarian-oriented works by Albert Jay Nock, Garet Garrett, Isabel Paterson, H. L. Mencken and others, as well as Austrian economist Ludwig von Mises. In the early 1950s, when Mises was teaching at the Wall Street division of New York University Business School, Rothbard attended Mises' unofficial seminar. Rothbard was greatly influenced by Mises' book, Human Action. Rothbard attracted the attention of the William Volker Fund, a group that provided financial backing to promote various "right-wing" ideologies in the 1950s and early 1960s. The Volker Fund paid Rothbard to write a textbook to explain Human Action in a form which could be used to introduce college undergraduates to Mises' views; a sample chapter he wrote on money and credit won Mises's approval. For ten years, Rothbard was paid a retainer by the Volker Fund, which designated him a "senior analyst." As Rothbard continued his work, he enlarged the project. The result was Rothbard's book Man, Economy, and State, published in 1962. Upon its publication, Mises praised Rothbard's work effusively. CANNOTANSWER

Question: How long did Murray Rothbard stay with Eisenhower's council of economic advisors?
Answer: CANNOTANSWER
Murray Rothbard

Context: Murray Rothbard's parents were David and Rae Rothbard, Jewish immigrants to the U.S. from Poland and Russia, respectively. David Rothbard was a chemist. Murray attended Birch Wathen, a private school in New York City. Rothbard later stated that he much preferred Birch Wathen to the "debasing and egalitarian public school system" he had previously attended in the Bronx.  Rothbard wrote of having grown up as a "right-winger" (adherent of the "Old Right") among friends and neighbors who were "communists or fellow-travelers." Rothbard characterized his immigrant father as an individualist who embraced the American values of minimal government, free enterprise, private property, and "a determination to rise by one's own merits". "[A]ll socialism seemed to me monstrously coercive and abhorrent."  He attended Columbia University, where he received a Bachelor of Arts degree in mathematics in 1945 and, eleven years later, his PhD in economics in 1956. The delay in receiving his PhD was due in part to conflict with his advisor, Joseph Dorfman, and in part to Arthur Burns rejecting his doctoral dissertation. Burns was a longtime friend of the Rothbard family and their neighbor at their Manhattan apartment building. It was only after Burns went on leave from the Columbia faculty to head President Eisenhower's Council of Economic Advisors that Rothbard's thesis was accepted and he received his doctorate. Rothbard later stated that all of his fellow students there were extreme leftists and that he was one of only two Republicans on the Columbia campus at the time.  During the 1940s Rothbard became acquainted with Frank Chodorov and read widely in libertarian-oriented works by Albert Jay Nock, Garet Garrett, Isabel Paterson, H. L. Mencken and others, as well as Austrian economist Ludwig von Mises. In the early 1950s, when Mises was teaching at the Wall Street division of New York University Business School, Rothbard attended Mises' unofficial seminar. Rothbard was greatly influenced by Mises' book, Human Action. Rothbard attracted the attention of the William Volker Fund, a group that provided financial backing to promote various "right-wing" ideologies in the 1950s and early 1960s. The Volker Fund paid Rothbard to write a textbook to explain Human Action in a form which could be used to introduce college undergraduates to Mises' views; a sample chapter he wrote on money and credit won Mises's approval. For ten years, Rothbard was paid a retainer by the Volker Fund, which designated him a "senior analyst." As Rothbard continued his work, he enlarged the project. The result was Rothbard's book Man, Economy, and State, published in 1962. Upon its publication, Mises praised Rothbard's work effusively. CANNOTANSWER

Question: Did Murray Rothbard teach at all?
Answer: CANNOTANSWER
Jerry Lewis

Context: Lewis had a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel and Casino on the Las Vegas Strip on March 20, 1965. The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years. He said he had been off the drug since 1978. In April 2002, Lewis had a Medtronic "Synergy" neurostimulator implanted in his back, which helped reduce the discomfort. He was one of the company's leading spokesmen. In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he had his first heart attack at age 34 while filming Cinderfella in 1960. In December 1982, he had another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he had another.  It was discovered that he had pneumonia, as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90 percent blocked. The surgery resulted in increased blood flow to his heart and allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks. In 1999, Lewis' Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer.  The resulting negative publicity caused him to sue his insurer for US$100 million. Lewis had prostate cancer, type 1 diabetes, pulmonary fibrosis, and a decades-long history of cardiovascular disease. Prednisone treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance. In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium. He was the headlining act, and he was introduced but did not appear. He had suddenly become unwell, apparently with heart problems.  He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars Club event. This latest health issue forced him to cancel a show in Sydney. In an October 2016 interview with Inside Edition, Lewis acknowledged that he might not star in any more films, given his advanced age, while admitting, through tears, that he was afraid of dying, as it would leave his wife and daughter alone. In June 2017, Lewis was hospitalized at a Las Vegas hospital for a urinary tract infection. CANNOTANSWER

Question: When did Jerry Lewis first fall ill?
Answer: March 20, 1965.
Jerry Lewis

Context: Lewis had a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel and Casino on the Las Vegas Strip on March 20, 1965. The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years. He said he had been off the drug since 1978. In April 2002, Lewis had a Medtronic "Synergy" neurostimulator implanted in his back, which helped reduce the discomfort. He was one of the company's leading spokesmen. In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he had his first heart attack at age 34 while filming Cinderfella in 1960. In December 1982, he had another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he had another.  It was discovered that he had pneumonia, as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90 percent blocked. The surgery resulted in increased blood flow to his heart and allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks. In 1999, Lewis' Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer.  The resulting negative publicity caused him to sue his insurer for US$100 million. Lewis had prostate cancer, type 1 diabetes, pulmonary fibrosis, and a decades-long history of cardiovascular disease. Prednisone treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance. In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium. He was the headlining act, and he was introduced but did not appear. He had suddenly become unwell, apparently with heart problems.  He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars Club event. This latest health issue forced him to cancel a show in Sydney. In an October 2016 interview with Inside Edition, Lewis acknowledged that he might not star in any more films, given his advanced age, while admitting, through tears, that he was afraid of dying, as it would leave his wife and daughter alone. In June 2017, Lewis was hospitalized at a Las Vegas hospital for a urinary tract infection. CANNOTANSWER

Question: What caused Jerry Lewis' illness?
Answer: illnesses and addictions related both to aging and a back injury sustained
Jerry Lewis

Context: Lewis had a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel and Casino on the Las Vegas Strip on March 20, 1965. The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years. He said he had been off the drug since 1978. In April 2002, Lewis had a Medtronic "Synergy" neurostimulator implanted in his back, which helped reduce the discomfort. He was one of the company's leading spokesmen. In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he had his first heart attack at age 34 while filming Cinderfella in 1960. In December 1982, he had another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he had another.  It was discovered that he had pneumonia, as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90 percent blocked. The surgery resulted in increased blood flow to his heart and allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks. In 1999, Lewis' Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer.  The resulting negative publicity caused him to sue his insurer for US$100 million. Lewis had prostate cancer, type 1 diabetes, pulmonary fibrosis, and a decades-long history of cardiovascular disease. Prednisone treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance. In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium. He was the headlining act, and he was introduced but did not appear. He had suddenly become unwell, apparently with heart problems.  He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars Club event. This latest health issue forced him to cancel a show in Sydney. In an October 2016 interview with Inside Edition, Lewis acknowledged that he might not star in any more films, given his advanced age, while admitting, through tears, that he was afraid of dying, as it would leave his wife and daughter alone. In June 2017, Lewis was hospitalized at a Las Vegas hospital for a urinary tract infection. CANNOTANSWER

Question: How did Jerry Lewis hurt his back?
Answer: comedic pratfall from a piano while performing at the Sands Hotel and Casino on the Las Vegas Strip
Jerry Lewis

Context: Lewis had a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel and Casino on the Las Vegas Strip on March 20, 1965. The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years. He said he had been off the drug since 1978. In April 2002, Lewis had a Medtronic "Synergy" neurostimulator implanted in his back, which helped reduce the discomfort. He was one of the company's leading spokesmen. In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he had his first heart attack at age 34 while filming Cinderfella in 1960. In December 1982, he had another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he had another.  It was discovered that he had pneumonia, as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90 percent blocked. The surgery resulted in increased blood flow to his heart and allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks. In 1999, Lewis' Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer.  The resulting negative publicity caused him to sue his insurer for US$100 million. Lewis had prostate cancer, type 1 diabetes, pulmonary fibrosis, and a decades-long history of cardiovascular disease. Prednisone treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance. In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium. He was the headlining act, and he was introduced but did not appear. He had suddenly become unwell, apparently with heart problems.  He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars Club event. This latest health issue forced him to cancel a show in Sydney. In an October 2016 interview with Inside Edition, Lewis acknowledged that he might not star in any more films, given his advanced age, while admitting, through tears, that he was afraid of dying, as it would leave his wife and daughter alone. In June 2017, Lewis was hospitalized at a Las Vegas hospital for a urinary tract infection. CANNOTANSWER

Question: How did Jerry Lewis' illness affect him?
Answer: 1965. The accident almost left him paralyzed.
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: What was The Sweet's first album?
Answer: The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971.
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Did The Sweet's album Funny How Sweet Co-Co Can Be do well?
Answer: It was not a serious contender on the charts.
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: What was special about The Sweet's first album?
Answer: A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Did The Sweet tour?
Answer: CANNOTANSWER
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Did any of The Sweet's songs chart?
Answer: Their next RCA release "Co-Co" (June 1971) went to number two in the U.K.
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Did The Sweet win any awards?
Answer: CANNOTANSWER
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: Other than The Sweet's song "Co-Co" going to number two in the UK, are there any other interesting aspects of their career?
Answer: A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman.
The Sweet

Context: The Sweet made their UK television debut in December 1970 on a pop show called Lift Off, performing the song "Funny Funny". A management deal was signed with the aforementioned songwriting team of Nicky Chinn and Mike Chapman. Phil Wainman resumed his collaboration with Sweet, as executive producer. This management deal also included a worldwide (the U.S. excepted) record contract with RCA Records (in the United States and Canada Bell Records issued the group's music until late 1973; followed by Capitol Records).  In March 1971 RCA issued "Funny Funny", written by Chinn and Chapman, which became the group's first international hit, climbing to the Top 20 on many of the world's charts. EMI reissued their 1970 single "All You'll Ever Get from Me" (May 1971) and it again failed to chart. Their next RCA release "Co-Co" (June 1971) went to number two in the U.K. and their follow up single, "Alexander Graham Bell" (October 1971), only went to #33. These tracks still featured session musicians on the instruments with the quartet providing only the vocals.  The Sweet's first full LP album, Funny How Sweet Co-Co Can Be, was released in November 1971. A collection of the band's recent singles supplemented by some new Chinn/Chapman tunes (including "Chop Chop" and "Tom Tom Turnaround") and pop covers (such as the Lovin' Spoonful's "Daydream" and the Supremes' "Reflections"), the album, recorded at Nova Studios in London, was produced by Phil Wainman and engineered by Richard Dodd and Eric Holland. It was not a serious contender on the charts. Their albums' failure to match the success of their singles was a problem that would plague the band throughout their career. CANNOTANSWER

Question: When was The Sweet's deal with Nicky Chinn and Mike Chapman signed?
Answer: The Sweet made their UK television debut in December 1970
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: What did  Ludwig do first in his career?
Answer: He worked in his father's stone carving shop and at several local design firms
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: What design firms did Ludwig work for?
Answer: He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912,
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: What did  Ludwig create there?
Answer: Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: What was Ludwig biggest project?
Answer: CANNOTANSWER
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: Did  Ludwig do anything aside from work for the firms and his father?
Answer: He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles.
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: What was  Ludwig style like?
Answer: the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel.
Ludwig Mies van der Rohe

Context: Mies was born March 27, 1886 in Aachen, Germany. He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.  His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe", using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage.  He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times. CANNOTANSWER

Question: Did Ludwig have any inspiration or influence?
Answer: He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times.
Fred Rogers

Context: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated.  When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote:  Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER

Question: Did Fred Rogers have anything to do with the development of the VCR?
Answer: Rogers was involved in supporting the manufacturers of VCRs in court.