gaussalgo/Canard_Wiki-augmented huggingface dataset:
Joaquin Phoenix

Context: During the comeback portion of his career, Phoenix went back to his given name Joaquin and was often cast in supporting roles as conflicted, insecure characters with a dark side. In 1995, he co-starred in To Die For, as the disturbed young man Jimmy who gets seduced by Suzanne Stone (Nicole Kidman) to commit murder. Directed by Gus Van Sant, the film was screened out of competition at the 1995 Cannes Film Festival and became a financial and critical success, resulting in a domestic box office total of $21 million. New York Times critic Janet Maslin praised Phoenix's performance, writing "So pity poor Jimmy. Rivetingly played by Mr. Phoenix with a raw, anguished expressiveness that makes him an actor to watch for, Jimmy is both tempted and terrified by Suzanne's slick amorality. In that, he speaks for us all."  In 1997, Phoenix played a small-town troublemaker in Oliver Stone's U Turn, and a poor man in love with a rich woman in Inventing the Abbotts. The films were received with mostly mixed and negative reviews, respectively, and neither performed well at the box office.  The following year, Phoenix starred in Clay Pigeons (1998) as a young man in a small town who befriends a serial killer. Budgeted at $8 million, the film became a box office flop, grossing only $1 million and was, like Phoenix's previous projects, not well received by critics.  In his next film, 8mm (1999), Phoenix co-starred as an adult video store employee who helps Tom Welles (Nicolas Cage) penetrate the underworld of illegal pornography. The film turned out be a box office success, grossing $96 million worldwide, but found few admirers among critics. CANNOTANSWER

Question: what happened in 1998 to Joaquin Phoenix?
Answer: The following year, Phoenix starred in Clay Pigeons (1998) as a young man in a small town who befriends a serial killer.
Joaquin Phoenix

Context: During the comeback portion of his career, Phoenix went back to his given name Joaquin and was often cast in supporting roles as conflicted, insecure characters with a dark side. In 1995, he co-starred in To Die For, as the disturbed young man Jimmy who gets seduced by Suzanne Stone (Nicole Kidman) to commit murder. Directed by Gus Van Sant, the film was screened out of competition at the 1995 Cannes Film Festival and became a financial and critical success, resulting in a domestic box office total of $21 million. New York Times critic Janet Maslin praised Phoenix's performance, writing "So pity poor Jimmy. Rivetingly played by Mr. Phoenix with a raw, anguished expressiveness that makes him an actor to watch for, Jimmy is both tempted and terrified by Suzanne's slick amorality. In that, he speaks for us all."  In 1997, Phoenix played a small-town troublemaker in Oliver Stone's U Turn, and a poor man in love with a rich woman in Inventing the Abbotts. The films were received with mostly mixed and negative reviews, respectively, and neither performed well at the box office.  The following year, Phoenix starred in Clay Pigeons (1998) as a young man in a small town who befriends a serial killer. Budgeted at $8 million, the film became a box office flop, grossing only $1 million and was, like Phoenix's previous projects, not well received by critics.  In his next film, 8mm (1999), Phoenix co-starred as an adult video store employee who helps Tom Welles (Nicolas Cage) penetrate the underworld of illegal pornography. The film turned out be a box office success, grossing $96 million worldwide, but found few admirers among critics. CANNOTANSWER

Question: how did the clay pigeons do?
Answer: Budgeted at $8 million, the film became a box office flop, grossing only $1 million and was, like Phoenix's previous projects, not well received by critics.
Joaquin Phoenix

Context: During the comeback portion of his career, Phoenix went back to his given name Joaquin and was often cast in supporting roles as conflicted, insecure characters with a dark side. In 1995, he co-starred in To Die For, as the disturbed young man Jimmy who gets seduced by Suzanne Stone (Nicole Kidman) to commit murder. Directed by Gus Van Sant, the film was screened out of competition at the 1995 Cannes Film Festival and became a financial and critical success, resulting in a domestic box office total of $21 million. New York Times critic Janet Maslin praised Phoenix's performance, writing "So pity poor Jimmy. Rivetingly played by Mr. Phoenix with a raw, anguished expressiveness that makes him an actor to watch for, Jimmy is both tempted and terrified by Suzanne's slick amorality. In that, he speaks for us all."  In 1997, Phoenix played a small-town troublemaker in Oliver Stone's U Turn, and a poor man in love with a rich woman in Inventing the Abbotts. The films were received with mostly mixed and negative reviews, respectively, and neither performed well at the box office.  The following year, Phoenix starred in Clay Pigeons (1998) as a young man in a small town who befriends a serial killer. Budgeted at $8 million, the film became a box office flop, grossing only $1 million and was, like Phoenix's previous projects, not well received by critics.  In his next film, 8mm (1999), Phoenix co-starred as an adult video store employee who helps Tom Welles (Nicolas Cage) penetrate the underworld of illegal pornography. The film turned out be a box office success, grossing $96 million worldwide, but found few admirers among critics. CANNOTANSWER

Question: what followed Clay Pigeons?
Answer: In his next film, 8mm (1999), Phoenix co-starred as an adult video store employee who helps Tom Welles (Nicolas Cage) penetrate the underworld of illegal pornography.
Joaquin Phoenix

Context: During the comeback portion of his career, Phoenix went back to his given name Joaquin and was often cast in supporting roles as conflicted, insecure characters with a dark side. In 1995, he co-starred in To Die For, as the disturbed young man Jimmy who gets seduced by Suzanne Stone (Nicole Kidman) to commit murder. Directed by Gus Van Sant, the film was screened out of competition at the 1995 Cannes Film Festival and became a financial and critical success, resulting in a domestic box office total of $21 million. New York Times critic Janet Maslin praised Phoenix's performance, writing "So pity poor Jimmy. Rivetingly played by Mr. Phoenix with a raw, anguished expressiveness that makes him an actor to watch for, Jimmy is both tempted and terrified by Suzanne's slick amorality. In that, he speaks for us all."  In 1997, Phoenix played a small-town troublemaker in Oliver Stone's U Turn, and a poor man in love with a rich woman in Inventing the Abbotts. The films were received with mostly mixed and negative reviews, respectively, and neither performed well at the box office.  The following year, Phoenix starred in Clay Pigeons (1998) as a young man in a small town who befriends a serial killer. Budgeted at $8 million, the film became a box office flop, grossing only $1 million and was, like Phoenix's previous projects, not well received by critics.  In his next film, 8mm (1999), Phoenix co-starred as an adult video store employee who helps Tom Welles (Nicolas Cage) penetrate the underworld of illegal pornography. The film turned out be a box office success, grossing $96 million worldwide, but found few admirers among critics. CANNOTANSWER

Question: how did 8mm do?
Answer: The film turned out be a box office success, grossing $96 million worldwide, but found few admirers among critics.
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: When did Rodgers and Hammerstein start developing the show Oklahoma!?
Answer: The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943.
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: How were the reviews at the New Haven tryout for the show Oklahoma!?
Answer: the reviews were only fair.
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: What changes were made based on the reviews to the show Oklahoma!.
Answer: two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: Were any songs cut before Oklahoma! opened on broadway because of the reviews?
Answer: the addition of the show-stopping musical number, "Oklahoma!"
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: What was the casting process for Oklahoma!?
Answer: CANNOTANSWER
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: Were the leads known actors or new faces for Oklahoma!?
Answer: As a result, there were no stars in the production, another unusual step.
Oklahoma!

Context: Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step. The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.  The first title given to the work was Away We Go! which opened for out-of-town-tryouts in New Haven's Shubert Theatre on March 11, 1943. Expectations for the show were low; Hammerstein had written six flops in a row, and the show had no star power. Producer Mike Todd walked out after the first act during the tryout and wisecracked, "No legs, no jokes, no chance." But Rodgers and Hammerstein were confident. The New Haven and Boston audiences were enthusiastic, although the reviews were only fair. Of the changes made before the show went to Broadway, two would prove significant: the addition of the show-stopping musical number, "Oklahoma!" and the decision to retitle the musical after that number.  Todd had been wrong; the show opened on Broadway to raves from the critics, sold out, and won a special Pulitzer Prize. Brooks Atkinson wrote in The New York Times that the show's opening number, "Oh, What a Beautiful Mornin'" changed the history of musical theater: "After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable." The New York Post was the only major paper to give Oklahoma! a mixed review. Its critic felt that while the songs were pleasant enough, they sounded much alike. The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre. CANNOTANSWER

Question: How did Rodgers and Hammerstein find the actors for the show Oklahoma!?
Answer: CANNOTANSWER
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: When did Richard Rogers get his first award
Answer: Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier,
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: Can you tell me what honours Richard Rogers received?
Answer: Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid,
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: What awards has Richard Rogers won?
Answer: He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006,
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: Other than an RIBA Royal Gold Medal and a Golden Lion for Lifetime Achievement, did Richard Rogers win anything else?
Answer: Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986.
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: What was Richard Rogers most recognized award for?
Answer: In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour.
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: What building made Richard Rogers a Laureate of the Pritzker Architecture Prize?
Answer: CANNOTANSWER
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: Aside from Richard Rogers' honours and awards, are there any other interesting aspects about this article?
Answer: In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath.
Richard Rogers

Context: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sits as a Labour peer in the House of Lords. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list.  Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier, L'Ordre National de la Legion d'honneur in 1986. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. He was also appointed as a Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize - architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork - the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover - to celebrate the British cultural figures of the last six decades.  Rogers has been awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath. CANNOTANSWER

Question: Besides an Honorary Degree (Doctor of Science) from the University of Bath, what other honour did Richard Rogers receive after that honorary degree?
Answer: He was awarded the Minerva Medal by the Chartered Society of Designers in the same year.
Alexander Graham Bell

Context: His father encouraged Bell's interest in speech and, in 1863, took his sons to see a unique automaton developed by Sir Charles Wheatstone based on the earlier work of Baron Wolfgang von Kempelen. The rudimentary "mechanical man" simulated a human voice. Bell was fascinated by the machine and after he obtained a copy of von Kempelen's book, published in German, and had laboriously translated it, he and his older brother Melville built their own automaton head. Their father, highly interested in their project, offered to pay for any supplies and spurred the boys on with the enticement of a "big prize" if they were successful. While his brother constructed the throat and larynx, Bell tackled the more difficult task of recreating a realistic skull. His efforts resulted in a remarkably lifelike head that could "speak", albeit only a few words. The boys would carefully adjust the "lips" and when a bellows forced air through the windpipe, a very recognizable "Mama" ensued, to the delight of neighbours who came to see the Bell invention.  Intrigued by the results of the automaton, Bell continued to experiment with a live subject, the family's Skye Terrier, "Trouve". After he taught it to growl continuously, Bell would reach into its mouth and manipulate the dog's lips and vocal cords to produce a crude-sounding "Ow ah oo ga ma ma". With little convincing, visitors believed his dog could articulate "How are you, grandma?" Indicative of his playful nature, his experiments convinced onlookers that they saw a "talking dog". These initial forays into experimentation with sound led Bell to undertake his first serious work on the transmission of sound, using tuning forks to explore resonance.  At age 19, Bell wrote a report on his work and sent it to philologist Alexander Ellis, a colleague of his father (who would later be portrayed as Professor Henry Higgins in Pygmalion). Ellis immediately wrote back indicating that the experiments were similar to existing work in Germany, and also lent Bell a copy of Hermann von Helmholtz's work, The Sensations of Tone as a Physiological Basis for the Theory of Music.  Dismayed to find that groundbreaking work had already been undertaken by Helmholtz who had conveyed vowel sounds by means of a similar tuning fork "contraption", Bell pored over the German scientist's book. Working from his own erroneous mistranslation of a French edition, Bell fortuitously then made a deduction that would be the underpinning of all his future work on transmitting sound, reporting: "Without knowing much about the subject, it seemed to me that if vowel sounds could be produced by electrical means, so could consonants, so could articulate speech." He also later remarked: "I thought that Helmholtz had done it ... and that my failure was due only to my ignorance of electricity. It was a valuable blunder ... If I had been able to read German in those days, I might never have commenced my experiments!" CANNOTANSWER

Question: What was Alexander Graham Bell first experiment with sound?
Answer: a remarkably lifelike head that could "speak", albeit only a few words.
Alexander Graham Bell

Context: His father encouraged Bell's interest in speech and, in 1863, took his sons to see a unique automaton developed by Sir Charles Wheatstone based on the earlier work of Baron Wolfgang von Kempelen. The rudimentary "mechanical man" simulated a human voice. Bell was fascinated by the machine and after he obtained a copy of von Kempelen's book, published in German, and had laboriously translated it, he and his older brother Melville built their own automaton head. Their father, highly interested in their project, offered to pay for any supplies and spurred the boys on with the enticement of a "big prize" if they were successful. While his brother constructed the throat and larynx, Bell tackled the more difficult task of recreating a realistic skull. His efforts resulted in a remarkably lifelike head that could "speak", albeit only a few words. The boys would carefully adjust the "lips" and when a bellows forced air through the windpipe, a very recognizable "Mama" ensued, to the delight of neighbours who came to see the Bell invention.  Intrigued by the results of the automaton, Bell continued to experiment with a live subject, the family's Skye Terrier, "Trouve". After he taught it to growl continuously, Bell would reach into its mouth and manipulate the dog's lips and vocal cords to produce a crude-sounding "Ow ah oo ga ma ma". With little convincing, visitors believed his dog could articulate "How are you, grandma?" Indicative of his playful nature, his experiments convinced onlookers that they saw a "talking dog". These initial forays into experimentation with sound led Bell to undertake his first serious work on the transmission of sound, using tuning forks to explore resonance.  At age 19, Bell wrote a report on his work and sent it to philologist Alexander Ellis, a colleague of his father (who would later be portrayed as Professor Henry Higgins in Pygmalion). Ellis immediately wrote back indicating that the experiments were similar to existing work in Germany, and also lent Bell a copy of Hermann von Helmholtz's work, The Sensations of Tone as a Physiological Basis for the Theory of Music.  Dismayed to find that groundbreaking work had already been undertaken by Helmholtz who had conveyed vowel sounds by means of a similar tuning fork "contraption", Bell pored over the German scientist's book. Working from his own erroneous mistranslation of a French edition, Bell fortuitously then made a deduction that would be the underpinning of all his future work on transmitting sound, reporting: "Without knowing much about the subject, it seemed to me that if vowel sounds could be produced by electrical means, so could consonants, so could articulate speech." He also later remarked: "I thought that Helmholtz had done it ... and that my failure was due only to my ignorance of electricity. It was a valuable blunder ... If I had been able to read German in those days, I might never have commenced my experiments!" CANNOTANSWER

Question: How old was Alexander Graham Bell when he made the head?
Answer: CANNOTANSWER
Alexander Graham Bell

Context: His father encouraged Bell's interest in speech and, in 1863, took his sons to see a unique automaton developed by Sir Charles Wheatstone based on the earlier work of Baron Wolfgang von Kempelen. The rudimentary "mechanical man" simulated a human voice. Bell was fascinated by the machine and after he obtained a copy of von Kempelen's book, published in German, and had laboriously translated it, he and his older brother Melville built their own automaton head. Their father, highly interested in their project, offered to pay for any supplies and spurred the boys on with the enticement of a "big prize" if they were successful. While his brother constructed the throat and larynx, Bell tackled the more difficult task of recreating a realistic skull. His efforts resulted in a remarkably lifelike head that could "speak", albeit only a few words. The boys would carefully adjust the "lips" and when a bellows forced air through the windpipe, a very recognizable "Mama" ensued, to the delight of neighbours who came to see the Bell invention.  Intrigued by the results of the automaton, Bell continued to experiment with a live subject, the family's Skye Terrier, "Trouve". After he taught it to growl continuously, Bell would reach into its mouth and manipulate the dog's lips and vocal cords to produce a crude-sounding "Ow ah oo ga ma ma". With little convincing, visitors believed his dog could articulate "How are you, grandma?" Indicative of his playful nature, his experiments convinced onlookers that they saw a "talking dog". These initial forays into experimentation with sound led Bell to undertake his first serious work on the transmission of sound, using tuning forks to explore resonance.  At age 19, Bell wrote a report on his work and sent it to philologist Alexander Ellis, a colleague of his father (who would later be portrayed as Professor Henry Higgins in Pygmalion). Ellis immediately wrote back indicating that the experiments were similar to existing work in Germany, and also lent Bell a copy of Hermann von Helmholtz's work, The Sensations of Tone as a Physiological Basis for the Theory of Music.  Dismayed to find that groundbreaking work had already been undertaken by Helmholtz who had conveyed vowel sounds by means of a similar tuning fork "contraption", Bell pored over the German scientist's book. Working from his own erroneous mistranslation of a French edition, Bell fortuitously then made a deduction that would be the underpinning of all his future work on transmitting sound, reporting: "Without knowing much about the subject, it seemed to me that if vowel sounds could be produced by electrical means, so could consonants, so could articulate speech." He also later remarked: "I thought that Helmholtz had done it ... and that my failure was due only to my ignorance of electricity. It was a valuable blunder ... If I had been able to read German in those days, I might never have commenced my experiments!" CANNOTANSWER

Question: What year did Alexander Graham Bell make the head?
Answer: 1863,